£885 
A65 


f       ' 


THE  LIBRARY 

OF 

THE  UNIVERSITY 

OF  CALIFORNIA 

LOS  ANGELES 


THEATRICAL  SCENE 
PAINTING   ; 


A  THOROUGH  AND  COMPLETE  WORK 

ON  HOW  TO  SKETCH,  PAINT  AND 

INSTALL  THEATRICAL  SCENERY 


ILL  US  TR  A  TED 


APPLETON  PUBLISHING  CO. 

OMAHA,  NEBRASKA. 
U.  S.  A. 

44  3  8^ 


Coi'VKIGiU,  1916 
BY 

APPLETON  Pl'BLISHING  COMPANY 

Omaha,  Neb. 


Pli 


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OR  Shvkrai.  ^'kaks  past  there  has  been  an  e\er  increasing 
demand  for  Theatrical  Scenery  and  artistic  Window  Hack- 
grounds,  and  (jftentinies  the  sign  painter  or  pictorial  artist  has 
!'n  opportunity  to  do  scenic  painting  for  the  local  theater  or 
moving  picture  show,  but,  as  he  has  little  or  no  previous  experience  along 
these  lines  and  no  reference  work  to  refer  to,  he  generally  turns  down 
the  opportunity  in  favor  of  the  man  with  the  special  training.  To  meet  this 
demand  we  have  undertaken  to  place  before  the  public  a  moderately  priced 
work  on  Theatrical  Scene  Painting,  also  suitable  for  Window  Back- 
grounds, that  for  all  purposes  will  be  found  a  great  help  to  the  beginner 
as  well   as  to  the  person  with  some  knowledge  of   Scene   Painting. 

The  Scenic  Painter  oftentimes  is  requested  to  furnish  sample  draw- 
ings or  sketches  of  the  work  to  be  performed,  and  to  familiarize  the 
beginner  with  the  most  essential  rules  of  correct  drawing,  which  neces- 
sarily must  be  known  by  all  scenic  artists,  we  have  included,  in  this  work, 
se\eral  chapters  on  pencil  drawing,  elementary  perspecti\e,  pencil 
sketching,  crayon  drawing,  water  color  painting,  pen  drawing  and  wash 
drawing,  in  addition  to  the  painting  of  scenery  in  oil,  all  of  which  are  very 
instructive  and  necessary,  as  no  scenic  painting,  no  matter  how  elab- 
orately executed  in  colors,  can  correct  the  faulty  drawing  of  the  scene 
depicted. 

The  demand  for  artistic  scenic  paintings  for  window  backgrounds  is 
becoming  greater  every  year.  All  progressive  stores  now  use  them  for 
holiday  displays  and  for  different  seasons,  and  as  in  the  other  lines  ol 
advertising  the  art  of  displaying  merchandise  has  made  great  progress,  and 
a  well  executed  scenic  background  materially  helps  the  merchant  or  store 
keeper  to  dispose  of  his  goods  to  the  public.  Another  field,  unknown  to 
scene  painting  up  to  a  few  years  ago,  is  the  mo\ing  picture  shows,  which 
are  being  erected  even  in  the  smallest  towns.  Nearly  every  one  of  these 
shows  require  the  services  of  a  scenic  painter,  either  for  distemper  work 
in  interior  decoration,  or  to  equip  same  with  a  set  of  scenery  for  vaudeville 
performances.  Still  another  field  open  to  the  scenic  painter  is  the  work  in 
the  better  class  of  private  residences,  public  buildings,  schools  and 
churches,  which  in  late  years  have  commenced  to  use,  more  and  more 
scenic  decorations  and  distemper  work. 

1  o  the  young  man  with  some  artistic  talent  ^ve  should  strongly  recom- 
mend this  profitable  and  lucratixe  profession,  as  it  has  been  illustrated  in 
many  instances  that  a  person  who  is  possessed  of  some  particular  talent 
only  needs  the  opportunity  to  demonstrate  his  ability  in  order  to  succeed 
and  the  knowledge  of  scenic  painting  often  is  the  stepping  stone  to  a  great 
artistic    career. 


CHAPTER  ONE 


STRAIGHT  OUTLINES 


\\\'lX(i  is  tlu-  hackljonc  ni  all  scciiir  iiainting.  Learn  to  draw 
well  before  you  try  to  ])aint,  design,  illustrate  or  do  any  other  ar- 
tistic work.  To  be  aljle  to  draw  is  to  he  able  to  give  a  correct 
pictorial  impression  of  things  that  you  see.  Drawing,  therefore, 
educates  the  eve  and  the  hand  and  is  to  the  scenic  artist  what  scales  and  exer- 
cises are  to  the  musician — the  necess:ir\-  f(iundati(jn  for  all  good  techni(|ue. 

The  materials  that  are  needed  fur  ])reliminary  sketching  consist  of  the 
following  articles,  which  can  l)e  had  at  any  of  the  larger  art  stores  or 
painters'  sujiply  houses: 


1  Drawing  Board. 

2  Dozen  Sticks  French  Charcoal. 
1  Soft  Pencil  Eraser  (No.  40). 

Art  Gum. 
1  Lead  Pencil.  Koh-i-Noor  2-H. 
1  Lead  Pencil.  Koh-I-Noor  2B. 


1  Dozen  Sheets  Good  Drawing  Paper,  or 
Cartridge  Paper  (Wall  Paper).  (Any 
paper  with  a  somewhat  rough  surface 
may  be  used.) 

6  Thumb  Tacks. 

1  Soft  Cloth  Rag. 


For  vour  first  attempt  at  sketching  from  objects,  select  something 
with  sim]de,  straight  outlines,  a  jdain  bux.  tor  inst.mce  (Fig.  1,  Plate  1), 
place  it  ill  a  good  light,  hang  something  dark  behind  it  for  a  background; 
put  a  few  sheets  of  some  paper  on  your  drawing  board,  fasten  a  ipiarter 
sheet  of  your  drawing  paper  with  thumb  tacks  on  top  of  this,  shar])en  your 
charcoal  to  a  ])oint  (a  piece  of  sandpaper  is  good  for  this)  and  repeat  this 
when  ])oint  becomes  broad  and  dull,  in  fact,  always  keep  charcoal,  pencils 
and  crayons  well  sharpened  with  g^ud  long  points;  sit  down  about  6  to  8 
feet  away  froiu  object,  having  light  coming  from  your  left  side;  put  drawing 
board  in  your  la]>  and  rest  top  of  board  against  back  of  a  chair,  be  sure  that 
you  have  an  unol)structed  view  of  your  object;  now  look  well  at  box  and 
try  to  remember  general  outlines  of  same. 

Then  draw  with  (juick,  light  strokes  the  main  outlines  of  box.  Sit  well 
back  in  chair,  hold  drawing  board  away  from  you  and  compare  the  outlines 
and  pro]K)rtions  of  your  picture  with  those  of  box.  You  may  then  observe 
that    the    box   you   have   drawn    is    either   too    long,   or    short,   or    broad,    or 


PLATE  1 


crooked,  ur  iithcrwise  oul  of  pri  ipnrtii  in  witli  the  ulijccl.  Xuw  try  in  oirrect 
your  errors.  Wipe  first  drawiiiL;  i)artly  nut  witli  a  soft  clu-esr  cli'tli  rag, 
redraw  lines  that  were  cdrreet  ami  alter  tlidsi-  tli;il  were  wroiiL;.  tlu-u  rum- 
pare  drawins^'  attain  with  uhject  and  ])rc  rii.n-<l  tn  further  (.-nrrect  until  \<iu 
have  ,t;(it  a  true  pietiu'e  in  nutline  of  lio.x.  'I'hen  wipe  ])artl\  nut,  redraw 
outlines  niceh  with  pencil  2-11:  j)lace  new  sheet  of  ]>ai)er  mi  iKiard,  i^ive 
box  a  ditVerent  position  and  try  another  drawint;-  (if  it.  Kepeat  until  you 
have  several  drawinsifs  of  different  views  of  box. 

I'"or  your  next  lessnn  use  two  boxes  ])laced  at  diti'ereiit  aiij.;les  in  each 
other  ( I'"i^'.  2,  I'late  1).  I'roceed  as  before,  m.-ikin;;-  several  eharcnal  studies 
of  different  ])ositions  of  boxes,  finish    with   pencil. 

For  third  lesson,  ])lace  a  bottle  in  frmit  of  box  and  make  a  drawing 
of  the  conibinatiiin  I  I'iii'.  3.  illustration  li.  \\'lien  sketching  the  curves  at 
top  and  bottom  of  bottle  just  indicate  with  straight  lines  in  first  sketches; 
when  these  are  corrected  draw  in  cinwes.  For  further  i)ractice  place  bottle 
and  box  in  six  different  ]jositions  and  draw  si.x  sketches  as  before. 


DRAWING  OF  OBJECTS  HAVING  CURVED  LINES. 


The  pu])il  having  made  a  considerable  number  of  dr.iwings  from  objects 
with  straight  outlines  should  now  begin  to  sketch  fmm  objects  having 
curved  outlines  and  try  to  master  the  intricacies  of  their  forms  ;ind   shapes. 

For  our  first  .attempt  we  will  lake  .an  ordinary  (juart  bottle  and  place 
it  against  some  jdaiii  background  and  in  a  light  that  will  show  up  the 
outlines  of  the  object  strongly  and  clearly  against  the  background,  iiav- 
ing  hxed  our  pa])er  and  taken  a  jiosition,  as  ])reviousl\'  explained,  we  will 
now   ])rocecd  to  make  a  rough  charcoal  sketch  of  the  outlines  of  the  bottle. 

First  draw  a  straight,  vertical  line  dc>wii  through  middle  of  paper, 
using  a  ruler;  then  hold  out  charcoal  at  arm's  length,  parallel  with  an 
imaginarv  straight  line,  running  df)wn  middle  of  object.  Close  one  eye, 
as  when  sighting  a  gun,  and  starting  at  toj)  of  bottle  observe  how  many 
times  vou  can  di\ide  piece  of  charcoal  ]>rotruding  above  your  finger,  into 
the  length  of  bottle.  I'ut  down  as  inan\  etjual  distances  on  the  vertical 
line  oil  \our  paper,  taking  care  to  have  them  small  enough,  so  as  to  leave  a 
generous  margin  at  top  and  bottom  of  bottle;  then  measure,  as  before, 
wiilth  of  bottle,  being  careful  to  hold  charcoal  horizont.ally.  |)rotrn<ling  from 


fingers,  as  before,  and  at  arm's  length  and  measure  Imw  many  times  this 
length  of  charcoal  divides  into  width  of  bottle,  then  set  oft  these  divisions 
on  either  side  of  vertical  line,  and  if  drawn  correctly  you  now  have  height 
and  width  of  bottle  in  the  right  dimensions.  Now  draw  two  straight  out- 
lines, parallel  with  vertical  line,  for  the  sides  of  bottle.  Then  measure 
width  at  top  of  neck,  also  length  of  this  and  draw  outlines  of  same,  first 
as  straight  lines  and  then  curved,  as  in  model ;  finally  draw  curved  lines 
from  neck  to  sides  of  bottle,  being  careful  that  both  sides  are  perfectly 
alike.  Try  to  obtain  true  ovals  at  top  and  bottom  of  bottTe.  Sit  back  in 
chair  and  give  your  outline  sketch  a  final  critical  look,  correcting  any 
errors  in  dimensions  and  outline  :  then  wipe  out  charcoal  lines  partly,  and 
proceed  to  redraw  outlines  with  a  hard,  well  pointed  lead  pencil,  correcting 
all  errors  as  you  go  along.  Do  not  redraw  helping  lines,  shown  dotted  in 
Fig.  1,  Illustration  2.  Make  all  outlines  of  bottle  turned  to  the  light,  with 
a  light  touch  and  all  outlines  in  the  shatle  with  a  heavy,  broad  tnuch.  For 
your  next  attempt  lay  down  the  bottle  and  make  a  sketch  of  it  in  this  po- 
sition.    Make  in  all  six  diliferent  sketches  of  bottle  in  different  positions. 

Having  mastered  the  simple  outlines  of  a  plain  Ijottle  we  shall  now 
select  a  simple  vase  of  some  kind  for  our  next  model.  The  same  rules  laid 
down  for  drawing  the  Ixjttle  will  hold  good  in  this  problem.  Fig.  2,  Illus- 
tration 2,  will  show  that  a  few  more  helping  or  "blocking  in"  lines  are 
required  than  in  the  former  drawing,  l)ut  they  are  obtained  in  exactly  the 
same  way,  as  when  drawling  bottle.  The  particular  vase  selected  need 
not  be  an  exact  replica  of  the  one  illustrated  in  Fig.  2,  but  should  be  plain 
and  simple  of  outline.  Make  three  drawings  of  vase  in  three  different 
positions  and  three  more  drawings  of  vase  and  bottle  together  in  difterent 
positions. 

For  your  next  problem  select  a  plain  cup  and  saucer  lor  a  model,  using 
same  methods  of  sketching  as  indicated  above.  Figure  3,  Illustration  2, 
will  give  an  idea  of  the  "blocking  in"  re<iuired  before  curved  outlines  are 
drawn.  Be  sure  of  getting  a  good  shape  to  the  handle.  Make  a  few  more 
drawings  of  cup  and  saucer  in  difl'ereiit  j)ositions  and  several  drawings  of 
bottle,  vase,  cup  and  saucetr  grouped  together  in  different  positions. 


FURNITURE  DRAWING   IN   OUTLINE. 


Before    starting   to    sketch    in    nutline    from    models,    you    should    spend 
several   hours    drawing    free-hand    ovals.      Make    all    kinds    of    ovals,    some 


almost  like  a  circle,  others  more  compressed  and  oblong,  but  all  of  them 
with  true  curved  outlines  without  flat  places  or  uneven  bumps.  Always 
remember  that  an  oval  is  a  circle  seen  in  perspective  and  that  it  must  not 
be  egg-<haped.  but  both  ends  should  have  precisely  the  same  curvature. 

The  outline  sketches  from  simple  objects  made  in  former  lessons  should 
have  educated  \out  hand  and  eye  to  such  an  e.xtent  that  you  now  will 
be  able  to  make  creditable  sketches  in  outline  from  plain   furniture. 

I-^ir  \our  tirst  attempt  at  this  kind  of  work  select  as  a  model  a  plain 
chair,  preferably  one  of  mission  design.  I'lace  this  chair  about  nine  feet 
away  from  you  in  a  good  light  and  against  some  plain,  cpiiet  background. 
Fix  your  ])aper.  as  usual,  and  draw  a  vertical  line  where  you  want  farthest 
side  of  chair  to  come.  On  this  line  measure  off  height  of  back  and  mark 
where  seat  will  strike  it,  draw  a  horizontal  line  through  this  point  and 
measure  off  length  of  seat  in  true  proportion  to  the  rest.  Now  proceed  to 
draw  nearest  side  of  back,  noting  what  angle  the  outlines  have  to  your 
pencil  held  out  perfectly  vertical  in  front  of  your  eye  and  at  arm's  length. 
Give  outline  of  back  in  your  drawing  same  angle  to  vertical  line  already 
drawn;  then  notice  how  width  of  chair  corresponds  to  height  and  when 
this  is  found  proceed  to  draw  farthest  side  of  back,  parallel  with  nearest 
one,  but  slightly  shorter;  then  draw  front  legs  in  a  similar  way.  If  look- 
ing carefully  at  the  subject  you  will  notice  that  all  lines  receding  from 
you,  if  extended,  would  meet  in  a  point,  directly  in  front  of  your  eye.  This 
point  is  called  the  "perspective  vanishing  point"  for  all  such  lines  and  will 
shift  with  your  eye,  which,  therefore,  should  be  kept,  as  nearly  as  possible, 
in  the  same  position  while  looking  at  model. 

After  having  made  one  charcoal  sketch,  as  correct  in  porportion  as  it 
is  possible  for  you  to  draw,  wipe  it  partl\-  out  and  finish  it  nicely,  going  over 
all  the  lines  with  a  well-pointed,  medium  hard  lead  pencil,  correcting  all 
possible  errors  and  lack  of  proper  details  as  you  go  along.  Use  a  heavy, 
broad  outline  tor  all  shaded  sides.  For  further  ])ractice  place  same  chair,  or 
choose  others,  not  too  complicated,  in  six  dift'erent  positions  and  make  a 
drawing  of  each  different   view. 

For  vour  next  model  use  a  plain  library  or  kitchen  table.  First  draw  a 
vertical  line  where  you  want  left  front  leg  of  table  to  come  ;  on  this  line 
set  off  height,  then  at  right  angle  with  vertical  line  draw  a  horizontal  line 
for  farthest  edge  of  table  top;  then  set  off  height  of  table  on  this  line, 
draw  right  front  leg  parallel  with  left  one,  measure  off  width  of  table  and 
draw  a  line  for  farther  edge  of  table  parallel  with  the  nearer  edge  already 
drawn.  Then  mark  off  your  table  ends,  sides  and  lowest  points  of  farthest 
legs  in  their  true  perspective  foreshortening,  add  all  remaining  details  and 


PLATE  2. 


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fmish    charcoal    sketch.      Redraw    with    ])cncil,    as    l)efore,    and    for    further 
practice  make  a  few  nmre  drawinsi^s  of  plain  tai)les  in  different  positions. 

For  yiiur  ne.xt  model  select  a  simple,  plain  cjiiffonnier  or  wash  stand 
and  make  several  drawings  of  it  in  difTerent  positions,  using-  same  methods 
of  sketching-  as  described  above.  In  some  of  your  sketches  pull  out  drawers 
more  or  less  and  draw  cliiitonnier  that  wav. 


COPYING    AND    ENLARGING. 


There  are  several  methods  of  enlarging  drawings  and  cuts  by  mechan- 
ical means  and  we  shall  briefly  explain  a  few  of  these  methods  of  mechanical 
enlarging. 

.\n  instrument,  often  used  by  draughtsmen  to  correctly  enlarge  the 
outlines  of  small  drawing's  or  engravings  is  called  a  pantograph.  This 
instrument  consists  of  four  narrow  strips  of  wood  or,  in  the  better  grades. 
of  metal.  These  strips  are  furnished  with  thumbscrews  that  can  be  inserted 
in  an}-  of  the  many  holes  in  the  strips,  ;ind  thus  secure  these  at  shorter  or 
greater  distance  from  each  other,  according  to  the  size  of  the  enlarg-ement 
desired.  The  pantograph  is  fastened  to  the  table  with  a  screw  at  "A"  (Fig. 
1.  Plate  .^).  The  object  to  be  enlarged  is  secured  with  thumbtacks  under 
the  i)oint  at  "C"  The  numljers  are  at  holes  on  strips  where  screws  "E" 
and  "F"  should  be  ])laccd  in  order  to  obtain  the  desired  enlargement  of 
small  cut.  Be  sure  that  screws  are  placed  at  same  number  on  all  four  strips. 
Fasten  a  large  sheet  of  jiaper  under  ])encil  jioint  at  "D" ;  grasp  head  of 
screw  "(""  with  left  hand  and  that  of  screw  "D"  with  right  hand,  then 
start  jjoint  at  "C",  moving  it  slowly  and  carefidly  over  the  lines  of  small 
cut,  at  the  same  time  guiding  pencil  over  the  large  sheet  of  jjajjcr.  If  care- 
fully done  tlie  residt  will  be  a  correctly  drawn,  enlarged  outline  of  small 
picture.  ^Vlawys  lie  careful  about  having  screws  in  pantograph  tight, 
so  to  avoid  wobbling  and  side  motion,  and  at  the  same  time,  not  so  tight, 
as  to  hinder  the   free  motion  of  the   four  strips. 

A  pantogra])h  can  be  oi)tained  at  most  art  stores  or  painters  supply 
houses  and  it  does  not  pay  to  buy  the  cheapest  kind,  as  they  do  not  work 
very   accurately. 

After  having  obtained  your  pantograph  you  siiould  select  a  sn-iall 
l)icture  of  a  simple  design,  place  same  under  j)antograph  and  make  an  en- 
larged outline  drawing  of  it,  as  explained  above  :  when  complete  go  lightly 


over  the  outlines  with  a  soft  pencil  eraser  and  rub  them  i)artly  nut  and 
after  this  operation  go  over  them  atiain  with  a  sharp,  medium  hard  pencil 
and  correct  all  deviations  from  the  true  outline.  Having  thus,  obtained 
a  nearly  perfect  enlarged  drawing  it  would  be  a  good  plan  to  go,  once  more, 
over  the  lines,  trying  still  further  to  make  them  perfect,  this  time  using 
a  pen  and  making  the  lines  with  li(|uid  India  ink  (Higgins  black  drawing  ink 
preferred).  Now  rub  pencil  lines  out,  and  lay  aside:  make  several  enlarge- 
ments, in  a  similar  way,  as  described  above,  but  select  a  harder  and  more 
intricate  picture  every  time. 

Another  mechanical  method  of  obtaining  an  enlarged  outline  of  a  small 
picture  consists  of  dividing  the  small  picture  in  a  certain  number  of  scjuares 
and  then  draw  the  same  amount  of  squares,  only  larger,  on  a  sheet  of 
paper  and  then  sketch  the  outline,  or  rather  as  much  of  the  outline,  as 
appears  in  one  of  the  small  squares,  in  the  corresponding  larger  square, 
thus  obtaining  a  correct  enlargement  of  the  entire  outline,  when  all  the 
larger  squares  have  been  fdled  with  their  sectional  part  of  the  enlarged 
outline. 

For  your  first  trial  at  this  method  select  a  small  picture  of  a  simple 
design  and  outline  and  divide  it  up  in  small  squares,  say  about  one-eighth 
of  an  inch ;  then  on  a  piece  of  smooth  drawing  paper  la}-  ciut  the  same 
number  of  squares  as  found  on  small  picture,  but  this  time  making  each 
square  larger,  say  about  one-half  inch.  Be  sure  to  have  all  sqtiares  true 
and  of  equal  size ;  then  number  them,  as  indicated  in  Fig.  2,  Plate  3, 
and  commence  to  draw  outline  in  first  large  square  in  same  proportion  as 
it  appears  in  corresponding  small  square.  Repeat  this  process  in  the  other 
scjuares,  until  a  complete  outline  of  small  picture  is  secured  ;  then  correct 
all  errors  and  go  over  outlines  with  pen  and  ink  and,  finally,  rub  out  pencil 
lines  and  .squares.  Make  several  outline  drawings,  following  this  method 
but  select  a  more  difficult  ])icture  to  enlarge  every  time. 

The  fewer  sijuares  that  }ou  make  on  sm;ill  picture  the  larger  part  of 
the  complete  outline  you  will  have  to  draw  in  each  >if  the  enlarge<l  squares 
and  the  more  difficult,  but,  also,  more  instructi\t'  the  problem  will  bocnme, 
and  for  your  last  and  hardest  part  select  some  plain  pictures  and  divide 
them  into  four  squares  in  the  enlargement.  Make  several  enlarged  outline 
sketches  from  diO'erent  sni;ill  ])ictures,  using  the  above  described  four 
squares. 

Before  starting  on  next  chapter  devote  a  little  of  your  spare  time  in 
sketching  objects  and  furniture  from  nature;  this  forms  a  splendid  exercise 
and  greatly  educates  the  eye  to  see  correctly  and  llu-  hand  t(j  dr;iw  correctly 


what  is  seen.  Make  \our  first  attempts  at  simple  composition,  placing 
several  objects  or  pieces  of  furniture  tofjether  so  they  make  pleasing  and 
artistic  groups  and  make  sketches  of  these  groups,  being  particularly  care- 
ful to  get  the  perspective  foreshortenings  of  the  lines  and  planes  correctly 
rendered  in  vour  sketches. 


/  z 


CHAPTER  TWO 


SHADING. 


A\'IXr,  l)ec(iiiie  familiii.r  with  tlic  sketchiiiL;"  of  objects  in  (outline, 
you  are  now  j)r(.-pared  tw  take  up  tlie  more  difficult  and  intricate 
study  of  liyht  anil  shade  and  ti_)  still  further  educate  the  hand 
and  e_\e  while  learning  to  see  values,  as  well  as  form  and  outline. 

Let  us  take  an  ordinary  hen's  egg  and  ])lace  it  on  a  large  sheet  of 
white  paper  against  a  background  of  white  cardlioard  or  cloth.  Have  the 
source  of  light  come  from  the  left  and  be  sure  that  the  object  receives  all 
of  its  light  from  cme  window  only  or  from  one  artificial  light,  if  you  are 
drawing  after  dark.  In  this  wa}'  all  "cross  lights"  will  be  avi:)i(led  and  the 
problem  of  light  and  shade  made  simpler  and  less  intricate.  The  light  strik- 
ing an  object  at  an  angle  of  45  degrees  will  lie  found  the  most  satisfactory. 
Before  we  start  to  sketch  the  object  let  us  look  it  over  carefullw  \\'e  first 
observe  the  general  oval  shape  of  the  egg  and  then  notice  that  the  portion 
oi  the  tgg  farthest  from  the  light  is  darker  than  that  ])ortion  nearest  to 
the  light.  W'e  .also  see  a  darkened  part  of  the  pajier  to  the  right  of  the 
egg.  caused  by   the   egg  coming  between   the   light   ;incl   the   pa]ier. 

The  lighter  portion  of  the  egg  we  call  "light."  the  darker  "shade"  and 
the  dark  jjortion  on  the  ]ia|)er  "sha<low."  I'urther  .an.alysis  (jf  the  "light" 
will  show  us  th.at  this  is  sul)di\ided  into  ;i  lighter  and  darker  region:  the 
lighter  we  c.ill  "high  light"  or  "halftone."  W'e  also  see  th;it  the  "sh.ade" 
is  Composed  of  a  lighter  p;irt  called  "half  shade"  or  "reflection"  and  a 
d.arker  called  "fulisiiade."  The  "shadow"  i>  also  dee]jest  nearest  the  object, 
which  ]i;irt  is  called  "full  shade,"  and  has  a  lighter  part  towards  the  edges, 
which  is  called  "half  shadow." 

If  we  now  <lesii'e  to  determine  the  strength  or  "\;ilues"  of  the  ilillerent 
<haded  regions  we  can  compare  tlii'  blackest  shadow  with  something 
entirely  black,  as  for  instance,  .a  piei'e  of  black  velvet  held  in  the  shade, 
and  we  will  observe  that  the  full  sh.adow  of  our  object  apjjears  consider- 
ably   lighter   than    we   lirst   imagined.   ,ind    when    we   come   to   shade   on   our 


(IrawiiiL;  we  nui>t  hear  this  in  iiiiiuh  so  we  can  ilraw  tlie  ohject  in  the 
right  "key"  ur  tone  and  not  get  the  shadows  and  shades  too  solid  hlack  or 
the  Hghts  too  chalk_v  white,  which  would  give  the  whole  picture  a  hard 
and  unpleasant   appearance. 

We  are  now  prepared  to  draw  a  shaded  picture  of  the  egg  before  us. 
Place  a  sheet  of  good  drawing  ])a])er  with  a  sninewhat  roughene<l  surface 
on  ynur  drawing  hoard  and  proceed  tn  sketcli  in  the  object,  as  ])reviousl_\' 
explained.  Redraw  outlines  clear  and  distinct  with  a  hard  lead  pencil,  then 
select  a  softer  one,  for  instance,  No.  P>P>  or  BP)B,  and  prf)ceed  to  lay  ni 
an  even  gray  shade  for  the  background  of  the  picture,  holding  the  pencil 
well  slanting  and  using  more  the  side  tlian  the  end  (if  the  ])iiint,  which 
should  he  rather  blunt.  Be  sure  to  get  the  backgrnund  as  even  and  smooth 
as  possible.  Xe.xt  take  another  good  look  at  the  egg  and  study  well  the 
distribution  of  light  and  shade  on  the  curved  surface,  then  give  it  a  light, 
snujoth  shading  all  over,  except  in  the  higlilights  ih.-ii  .-hnidd  be  left  wdiite  : 
then  work  in  tiie  darker  part  of  the  shade  witli  a  heavier  shading,  leaving 
the  halftone  near  the  white  and  the  reflection  near  the  shadow,  as  they 
have  already  been  shaded.  Now  draw  the  shadow  that  the  egg  throws 
on  pajjcr,  and  be  sure  to  get  this  very  dark  in  the  middle  and  in  under  the 
egg  and  lighter  and  softer  out  towards  the  edges,  which  shoidd  blend  softly 
with  the  even,  light  gray  shade  that  you  should  Lay  all  over  the  foreground 
up  to  where  it  touches  the  background. 

Place  egg  in  five  different  positions  and  liave  the  light  strike  it  in  five 
different  ways  and  make  five  more  sketches  of  the  same  object,  proceeding, 
each  time,  as  described  above. 

For  vour  next  ])r</bleni  select  a  tomato,  pcptato,  apple  or  i>ther  iruit  or 
vegetable  and  draw  six  shaded  sketches  of  s;ime  in  different  light  and 
positions.  This  time  the  background  behind  the  object  siiould  not  be  pure 
white  but  sluiuld  have  some  tint  to  it  and  should  be  shaded  a  little  heavier 
than  in  tiie  first  six  sketches. 

i-"or  the  last  problem  use  an  ordinary.  siin])le  bottle  for  your  object. 
This  time  curve  the  cardboard,  used  as  a  background  for  l)ottle,  into  a  half 
circle.  Vou  will  now  observe  that  the  side  of  the  background  that  is  nearest 
to  the  source  of  light  is  the  darkest  and  that  this  darkness  gradually 
blends  into  the  lighter  side.  op])osite.  ^■ou  will  also  notice  that  high  ligiits 
on  bottle  are  a  great  deal  sharper  and  clearer  detined  tlian  those  on  former 
objects,  tit.it  there  are  several  of  tiiem,  also  a  great  many  refiections  and 
half  lights;  this  is  found  in  all  objects  with  ;'  smooth,  shiny  surface  and 
makes  the  drawing  of  such  objects  a  great  deal  harder  than  those  of  simple 
objects  first  selected. 


Make  two  shaded  sketches  of  bottle  alone,  using  great  care  in  getting 
correct  shading  of  curved  background  and  high  lights  and  reflections  in 
bottle.  Next  make  two  shaded  sketches  of  bottle  and  egg  together  and 
finally  two  drawings  of  bottle,  egg  and  fruit  together,  changing  position 
and  grouping  each  time. 


SHADED   DRAPERIES. 


We  shall  now  proceed  one  step  further  in  our  -Indies  of  shading  and 
this  time  turn  our  attention  to  the  play  o\  light,  shade  and  reflections  on 
fabrics  and  cloth  hung  in  folds  and  drapes.  It  is  an  easier  task  to  draw 
draperies  that  are  subjected  to  a  strong  side  light  and  thus  will  show 
prominent  highlights  and  strong,  well  defined  shades  and  shadows,  than 
it  is  to  draw  and  shade  the  delicate,  soft  tints  that  draperies  show  when 
hung  in  dift'used  or  direct  light.  In  making  drawings,  described  in  this 
lesson,  you  should,  therefore,  ])lace  the  draperies  that  you  are  sketching  so 
that  they  receive  the  light  from  one  side  only.  For  your  models  select 
pieces  of  goods  not  smaller  than  one  yard  square,  larger  are  much  to  be 
preferred. 

For  your  first  profik-ni  select  some  woolen  or  cotton  material  of  a 
neutral  shade,  for  instance,  a  plain,  gr-i\'  blanket.  Hang  this,  either  by 
rings  suspended  un  ;i  wire  or  drajicd  over  a  curtain  jiole  so  that  it  falls  in 
straight,  even  folds. 

Kow  put  a  ])iecc  of  good  <iuality  drawing  ])aper  on  your  Imard.  sit 
down  in  front  of  drajjer}-,  so  far  away  from  same  that  you  can  overlook  ;ill 
of  your  model  in  one  glance,  .and  ])roceed  to  sketch  in  the  outline  ami 
general  direction>  on  the  most  conspicuous  folds  in  same,  making  a  draw- 
ing not  smaller  th.m  7x9  or  8x10  inches  and  enclose  same  in  a  sc|uare  frame, 
formed  of  two  par.allel  lines,  as  indicated  in  illustrations.  .After  having 
obtained  the  outlines  of  the  folds  \vi])e  out  cliarcoal  lino  jiartialK"  and 
proceed  to  put  in  the  heaviest  shades  and  sliadows  of  the  folds,  using  a  soft 
lead  pencil  for  this,  and  avoiding  all  hard  and  sharp  outlines.  I'roni  the 
shadows  go  to  the  half  shrules,  now  using  a  lighter  touch  and  ;i  liner  stroke 
of  the  pencil  and  fnially  draw  the  lightest  tint^  that  lead  iij)  to  the  high 
lights,  \vhich,  also,  should  have  a  very  faint  sh.iding  and  not  lie  left  sh<arp 
and  i)ure  wiiite,  uidess  the  piece  of  goods  you  are  sketching  is  made  of 
silk   or   satin.      In    woolen   and    soft   cotton    goods   all    of   the   shades    should 


blend  nicely  into  each  other,  so  as  to  render  tiie  suit  textnre  m1'  the  goods 
correctly.  Keep  on  making  sketches  from  this  model  until  vou  obtain  one 
that  is  as  nearly  correct  in  every  detail  as  it  is  possible   for  ynu  to  make. 

For  your  ne.xt  problem  drajje  blanket  civer  back  of  a  chair,  having  some 
of  it  fall  on  the  floor,  then  draw  and  shade  as  directed  before. 

You  will  tind  that  the  shadows  and  folds  now  are  more  uneven  than 
before  and  you  must  use  great  care  in  obtaining  the  correct  drawing  of 
the  folds  in  your  preparatory  charcoal  sketch.  For  the  ne.xt  two  sketches 
drape  blanket  over  front  of  chair,  changing  arrangement  of  folds  each  time. 
For  last  two  sketches  from  this  model  place  blanket  over  front  of  an  arm- 
chair or  rocker  and  press  goods  slightly  dow-n  over  seat  between  arms. 
You  will  now  nbserve  that  many  of  the  folds  and  shadows  indicate  the 
form  of  the  chair  below  blanket  and  it  is  now  your  job  to  draw  the  folds 
and  shade  them  so  that  the  finished  picture  w-ill  show  plainly  that  the 
blanket  has  been  draped  over  an  arm  chair.  Change  position  of  chair  in 
each  of  these  two  sketches. 

For  your  next  model  choose  a  jilain  portiere  or  curtain  (not  a  lace 
curtain).  Hang  this  up  so  the  light  strikes  it  from  one  side.  Drape  it 
nicel}-.  using  a  heavy  cord  with  tassels  to  tie  it  up  with.  .Sketch  and 
siiade  the  draped  curtain  as  before.  Change  position  and  fnlds  of  this 
curtain  si.x  times,  drawing  each  time  a  new  shaded  sketch. 

For  our  last  jirotjlem  we  will  select  some  tigure<l  material,  as,  for 
instance,  a  Turkish  ciaich  cover.  Drape  this  over  the  back  nf  a  chair, 
showing  part  of  this  in  drawing  and  draw  as  before.  Make  six  sketches 
in  all,  each  time  dra])ing  the  couch  cover  in  a  difYerent  wav  on  a  different 
jjiecc  of  furniture. 


SHADED  DRAWINGS  OF  FLOWERS  AND  PLANTS. 


The  practice  in  shading  that  \<iu  have  oI)tained  through  studying  the 
problems  given  in  the  two  previous  lessons  should  have  accustomed  you  to 
observe  the  fine  and  delicate  shades  and  halftones  and  the  strong  and  vigor- 
ous shadows  thrown  by  objects  exposed  to  light,  coming  from  one  direction, 
and  should  ha\e  cnableil  _\ou  to  make  a  correct  and  well  fmished  pencil 
sketch  of  this  play  of  light  and  shade  on  a  given  object,  and  all  this  acipiired 
knowledge  of  form  and  value  will  help  you  a  great  deal  when  you  start  to 
make  shaded  sketches  of  leaves,  plants  and  flo\vers.     The  methods  used  in 

—19— 


making  the  drawings,  descriheil  in  this  lesson  are  the  same  as  previnnsly 
explained.  First  select  your  models,  then  place  them  in  front  of.  or  tied  to 
some  even  background,  formed  of  a  piece  of  cardboard  or  plain  cloth.  Then 
obtain  a  good  grade  of  drawing  paper,  make  a  preparatory  sketch,  not  less 
thun  5x7  inches  (better  if  larger)  using  a  pciinted  piece  of  drawing  charcoal, 
wipe  cnU  partialh  .  and  redraw  outlines,  using  a  hard,  well-pnintod  lead  pencil. 
Commence  shading,  using  a  very  soft  (BB  or  BBB)  pencil,  and  beginning 
with  the  heaviest  shades  and  shadows,  following  up  with  the  half  lights  and 
ending  with  the  highlights,  which  on  light  t)bjects  will  appear  white  and 
should  hi-  left   unshaded. 

li  \  1  lU  are  jiracticing  during  the  summer  ynu  will  have  no  difhcult\'  in 
finding  \(:)ur  models  in  the  garden  or  the  fields;  during  the  winter  you  will 
have  to  make  your  choice  from  among  the  house  plants  nr  nhtain  the 
rec[uired  .^lowers  at  a  florist's. 

For  our  first  problem  we  must  select  some  leaves  of  simple  outline,  as 
for  instance,  rose  leaves,  maple  leaves,  oak  leaves  or  the  like.  Arrange  a 
small  bunch  of  these  leaves,  left  on  their  stems  and  branches,  against  a 
white  or  light  colored  plain  background,  ^'ou  iua_\"  have  to  tie  them  U])  for 
this  i)urpose  and  you  sluiuld  sjiread  them  oiU  well  so  you  nowdiere  leave  .'iny 
too  dense  clusters  of  leaves,  as  these  are  rather  difficult  to  draw  and  shade 
correctly.  Now  proceed  to  "block  in"  your  drawing,  using  a  pointed  piece  of 
drawing  charcoal  for  this  preliminary  work,  and  touching  the  paper  very 
lightly,  so  as  to  leave  only  a  faint  oiUline  that  will  rub  out  easily  without 
dirtying  the  paper.  Draw  the  main  lines  first,  obtaining  the  correct  angles 
of  the  main  branches,  then  block  in  ynur  leaves,  omitting  all  details,  and 
only  sketching  the  main  features  of  the  untlines  and  the  middle  rib.  .\fter 
}ou  have  finished  the  first  rough  sketcii  nf  the  whole  cluster  sit  well  back 
in  chair,  hdlding  vnur  sketcli  away  from  vdu  ;in<l  scrutinize  tlie  sketcii  ;ind 
the  model  and  discover  where  the  ])roportions  antl  outlines  are  wrong. 
\\'ij)e  t)Ut  tlie  ch;ircoal  lines  ])artly.  and  ])roceed  tn  correct  in  second  sketch. 
Keep  this  up,  cnniparing  with  nindcl.  ;ind  redr.iw  initil  you  have  obtained  a 
fin.'i!  sketch  which  is  currect  in  |iri  ijxirtic  ms  as  well  as  untlines. 

After  the  ])re])arati  iry  i'liarrc);il  sketch  has  been  ])erfecte(l,  wi|ie  ;ilmost 
out  :incl  rcilr.aw  .-ill  untlines  with  a  lead  pencil,  this  time  putting  in  .nil  of 
the  lesser  details.  When  the  final  dUlline  sketcii  is  finished  and  satisfies 
your  judgment,  ])rnceed  tu  lay  in  the  darkest  sliades  ami  shadows,  using  a 
very  soft  (21)  ur  M'>)  le;id  pencil.  From  the  deepest  shades  go  to  the  lialf 
tints,  using  a  ligiiter  touch,  as  you  work  u])  tn  the  highlights,  wiiicli.  if 
tlie_\-  are  very  strong  and  marked,  should  be  left  white.  This  shading  of 
the  delicate  and  broken  lints  and  reflections  of  ;i  bunch  of  leaves  is  ;i  ii.'irder 


task  than  yi  m  have  unilcrtaken,  so  far,  and  it  is  pdssilik-  that  your  first 
attempt  may  nut  be  as  successful  as  you  had  anticipated.  Do  not  let  this 
discourage  you.  Start  all  over  again  and  keep  this  up  until  at  last  you  are 
able  to  make  a  ])erfect  drawing,  satisfactory  in  every  detail,  and  rearrange 
leaves  so  the}-  make  a  different  cluster  and  proceed  to  draw  another 
picture ;  then  rearrange  again  and  draw  a  third  sketch  from  the  same 
leaves.  Now  obtain  a  bunch  of  some  different  leaves,  having  an  outline 
a  little  more  difficult  tu  draw  than  those  you  just  discarded.  Make  three 
sketches  of  these  leaves  in  different  positions,  then  bunch  yuur  two  kinds 
of  leaves  together  and  make  three  difierent  sketches  ui  this  new  bunch. 

For  the  second  problem  select  for  your  model  a  bunch  of  some  large, 
plain  (lowers,  as  for  instance,  roses,  daisies,  peonies,  dahlias,  lillies  or  the 
like,  but  do  nut  at  first  group  mure  than  three  of  fuur  c;if  them  in  a  launch. 
Arrange  them  artistically  against  a  light  colured.  plain  background  and 
proceed  to  sketch,  outline  and  shade  as  before,  taking  great  care  in  making 
your  preparatory  sketch  so  as  to  get  a  correct  drawing  of  the  flowers.  If 
the  flowers  are  white  or  light  colored  the  background  shovikl  be  shaded 
lightly  where  the  light  flowers  come  up  against  it.  .Make  three  difierent 
sketches  of  the  first  bunch  of  flowers,  rearranging  them  ever)-  time.  Then 
select  a  smaller  flower,  which  is  a  little  harder  to  draw,  and  make  three 
different  sketches. 

For  the  third  j)r(jblem  select  a  nice  vase,  bowl  or  crock  and  arrange  the 
fli_)wers  in  one  of  those,  making  three  different  sketches  of  flowers  and 
receptacle.  Next  select  a  house  ])lant  in  flowerpot  or  jardiniere  and  make 
three  drawings,  selecting  a  difierent  plant  each  time.  Keep  up  this  study 
of  flowers  and  plants  until  you  have  obtained  a  set  of  perfect  and  well 
executed  drawings  and  you  are  not  able  to  make  further  improvements 
on  them. 


SHADED  DRAWINGS  OF  TREES  AND  FOREGROUNDS. 


The  exjierience  gained  in  making  shaded  pencil  drawings  of  leaves, 
])lants  and  flowers  will  help  you  a  great  deal  when  you  come  to  sketch 
branches,  trunks  and  trees  from  nature.  This  lesson  is  the  first  one  that 
takes  you  out  in  the  u])en  and,  before  you  are  through,  we  ])roi)ose  to 
open  your  eyes  to  see  all  the  beauties  of  form  and  color  that  abound  so 
])lentifully   m   the   great   outdoors.      If   you   are   practicing   when    tiie    leaves 


are  off  the  trees  yuu  will  have  a  tine  oj)portunity  of  studying  the  structural 
formation  of  trees,  their  i)ranches,  twigs  and  trunks  and  later  on  in  the 
early  spring  }(iu  will  he  ahle  to  secure  line  studies  of  budding  bushes  and 
blossoming  fruit  trees.  In  the  summer  and  fall  there  will  be  plenty  of  good 
models  of  trees  with  great  masses  of  dense  foliage.  The  evergreen  you 
can  study  to  advantage  all  the  year  round,  and  these  you  must  not  neglect 
as  they  form   fine  models   to  study   from. 

For  out-door  sketching  you  >h(iul(l  provide  yourself  with  a  sketch 
book,  ha\ing  leaves  of  a  good  grade  white  or  cream  colored,  imruled  paper, 
and  small  enough  to  slip  in  a  coat  ])iicket.  Take  along  a  pen  knife,  a  soft 
pencil,  a  rubber  and  two  lead  pencils,  a  hard  one  for  outlining  and  a  very 
soft  one  for  shading,  also  a  soft  pencil  eraser  (sponge  rubber)  that  should 
only  be  used  when  absolutely  necessary. 

Begin  your  observations  with  studying  trunks  of  large  trees  and 
observe  carefully  the  general  <iutlines  and  dift'erent  textures  of  the  most 
common  species  of  our  forest  trees,  as  the  sturdy  oak,  the  ehn.  the  chest- 
nut, the  maple,  the  birch,  the  elder,  etc. 

l-'i  ir  your  first  model  select  a  trunk  of  a  large  tree  that  grows  rather 
straight  and  does  not  have  its  branches  too  near  the  grovmd.  Stand  at  a 
distance  of  from  10  to  20  feet  away  from  it  an<i  commence  to  make  a  very 
light  outline  of  its  main  features,  blocking  it  in  with  straight  outlines  first, 
and  omitting  all  small  details  and  fine  curves  in  the  preparatory  sketch. 
Do  not  draw  branches,  foliage  or  surroimding  landscape  in  your  first 
sketch  of  trees,  but  confine  yourself  to  obtain  a  good  and  correct  drawing 
of  the  trunk  alone.  You  should,  however,  draw  some  nf  the  furegrnund 
immediately  surrdunding  the  trunk  ;md  also  the  toj)  of  the  large  roots,  if 
these  show  above  ground,  (itherwise  the  tree  will  look  as  if  it  filiated  in 
mid-air. 

After  having  completed  one  shaded  sketch  of  the  trunk,  walk  to  a 
dift'erent  ]dace  and  draw  another  view  of  the  same  trunk,  shading  the 
sketches  very  carefulls  and  delining  the  light  and  shade  on  the  trunk  and 
all  the  ridges  and  uneven  s])ots  on  same  with  bdld.  he.avy  strokes  of  a 
soft   ])encil. 

For  }iiur  next  sketch  draw  the  trunk  nf  another  tree,  this  time  includ- 
ing some  I  if  the  branches  in  the  sketch.  Also  try  to  find  a  trunk  of  a  tree 
fallen  tn  the  grniind  or  lying  over  ;i  brook;  make  sketches  of  this.  alst>  of 
stumjj  if  thi->  is  still  standing. 

For  the  next  ])rciblein  --elect  a  good  sized  tree,  standing  all  alone  ;ind 
make  a  shaded  sketch  of  entire  tree,  but  be  sure  tn  cibtain  a  correct   outline 


of  the  crown  of  the  tree  ami  draw  the  folia'4;e  in  masses,  omittinj;-  tnu  many 
details.  Leave  a  well-defined  distinction  between  the  light  and  the  shaded 
parts  in  your  sketch  and  draw  foliage  with  Imld  lines,  nsint;'  hruad  sweeps 
of  a  very  blunt,  |)tunted  pencil.  Now  start  shadini:  in  the  places  that  appear 
darkest  in  tree  before  you,  then  go  to  the  lighter  and  finally  to  the  high 
lights,  which  should  be  shaded  very  lightly.  Be  sure  to  obtain  a  correct 
representation  of  the  different  textures  of  the  trunk,  the  branches  and  the 
foliage.  This  may  seem  hard  to  liegin  with.  l)in  will  become  much  easier 
as  vou  become  more  experienced  in  expressing  just  what  you  want,  with 
different  strokes  of  your  pencil.  Also  try  to  retain  the  individuality  of  the 
tree  that  you  are  drawing,  so  your  sketches,  for  instance,  of  cottonwood 
do  not  look  like  those  of  oak  or  maple.  .Make  in  all  six  different  sketches 
of  six  different  trees,  selecting  evergreen,  if  ynu  are  practicing  in  the  winter 
time.  After  having  gained  sufficient  experience  in  sketching  single  trees, 
you  may  select  picturescjue  groups  of  several  of  them  for  your  models.  In 
your  latter  sketches  you  can,  also,  indicate  the  surnmnding  landscape  in 
fault  outlines,  but  vou  should  confine  your  sh.'uling  to  the  trees  alone. 

For  \iiur  last  iircihlcm  select  some  sim])le  l^l)iects  th.it  will  make  a 
good  niodel  of  an  easv  foreground  study,  .-is.  fur  instance,  an  nld  lence.  a 
wheelbarrow,  a  few  large  rock-.,  an  old  sh.inty,  cir  the  like.  Take  a  ramble 
out  in  the  woods  nt  the  country  with  \<iur  sketch  Ixmk  in  the  ])ncket  and 
vour  eves  f)pen  td  the  beauties  of  nature,  and  yuu  will  tind  scores  of  pic- 
turesque objects,  th,it  will  make  fine  UKidels  tor  foreground  studies.  Select 
simjile  olijects  and  do  not  try  too  complicated  com])ositionv  until  you  have 
gained  more  experience  in  sketching  from  n.'iture. 

In  ni.iking  shaded  pencil  sketches  of  foregrounds  be  sure  th.at  you  con- 
trast vour  objects  well,  so  as  to  obtain  sufficient  relief  in  your  drawing, 
having  the  dark  objects  ajjpear  against  a  light  liackground  and  vice  versa. 
Returning  liome  redraw  carefull}'  the  best  of  your  outdoor  sketches  to  a 
unif<irni  size,  not  less  than  5x7  inches.  Do  not  add  anything  from  your 
imagination  to  \ciur  sketches  from  n.iture.  but  redr.iw  them  correctly  and 
finish  and  shade  thetn  carefully,  m)  that  they  st.md  out  in  l)old  relief  with 
well  defined  lights  and  sh.ides.  and  not  gr.ay  and  smudgy  all  over. 

Before  tr\ing  to  sketch  trees  and   foregrounds  directly    from   nature,   it 

will   lie   g 1   i.ractice   to  dr;iw   ;i   lot    of  copies   of   these   objects,   as   can   be 

found  in  good  cuts  and  iliu-tr.itious  in  the  best  magazines  and  periodicals. 
You  will  then  be  familiar  witli  the  •■techni(|ue"  of  other  artists  before  trying 
vourself  to  ilraw  directlx    from   n;ilure. 


CHAPTER  THREE 


ELEMENTARY  PERSPECTIVE. 


ERSPECTIV"]*'  lias  ahva}s  lieen  c<iiisiilered  a  most  uuintcrcstin.u- 
and  drv  studx' :  nevertheless  it  i*^  the  true  grammar  of  ah  outlines, 
and  as  such,  intlispensablc  to  all  serious-minded  students  of  Theat- 
rical Scene  Painting. 

In    this    1 k    are    onlv    given    tin-    most    essential    and    easiest    a])]ilied 

elements  of  "linear  and  angular  ]iersi)ecti\e."  a|ii>licalile  tn  practical  ])roh- 
lems  occurring  dail\  in  the  shop  or  studio,  and  \  i  m  will  lie  sh,i\\n,  in  a 
comprehensive  \\a\-,  the  ]iriii)er  adajitatioii  of  every  lim-,  in  expressing  with 
truthfulness  the  parts  and  pro|)ortions  of  every  object  that  recedes. 
Witlmut  applying  this  simple  rule  of  elementary  perspective,  the  most 
l>eautifull\  wriaight  and  the  most  carefldly  executed  Scenic  Painting,  in 
other  res])ects.  wouhl  he  little  else  than  an  assemhlage  of  ])ainfid  and  com- 
])licated   errors. 

The  appearance  of  anv  object  de])ends  on  two  comlitions.  position  and 
distance.  The  jHisitiun  of  an  object  nr  its  dilTerenl  angle  to  the  eye  alters 
its  .Lpjiearance.  Take.  f(jr  instance,  an  ordinary  liarrel  hixjp.  and  hold  it 
in  front  of  your  eve.  parallel  t^  ymir  bculy.  and  it  .appears  as  a  true  circle, 
but  if  \"U  \iew  it  at  an  angle,  the  circle  becomes  an  elli]ise  :  il  you  view 
it  edgeways  \  c  )U  see  it  as  a  straight  line.  .Ml  these  are  ])erspective  views 
of  a  circle,  changed  b\'  "])osition"  of  the  object   to  your  eye. 

P.irallel  retreating  lines  converge.  I'nr  proof  nf  this  stand  in  the 
street  and  observe  the  buildings  on  either  side.  ,\s  they  retreat  \ou  will 
nntice  that  the\  tend  toward  each  other  ;  or  stand  on  .i  railroad  track  and 
von  will  observe  that  the  two  iiarallel  rails  seem  to  run  closer  tu  each 
other   the    farther   away    from   the   oliserver   thev    are. 

This  convergence  causes  tiie  farther  side  of  an  object  to  apjiear  smaller 
than  the  nearer  side.  Look  down  a  row  of  eipially  hi.gh  telephone  poles 
and  notice  that  the  farther  awa\  they  are.  the  smaller  they  ai)i)ear  to  the 
eye.      Retreating   lines,   whether  above  or  below   the   eye.   tend   towards   the 


level  of  the  eye.    Parallel  retreating  lines  meet  at  the  level  uf  the  eye.     This 
point  is  called  the  "vanishing  point." 

Fig.  2  shows  a  box  (A)  placed  directly  in  front  of  the  eye,  only  the 
front  side  being  seen.  Placed  to  the  right  or  left  (B  and  C)  at  90  degrees 
it  is  seen  in  parallel  perspective,  also  in  D  and  E.  At  an  angle  of  45  degrees 
(F,  G,  H,  J)  it  is  said  to  be  in  angidar  perspective  to  the  observer. 

PART   ONE. 

To  make  a  perspective  diagram,  draw  first  a  horizontal  line  of  indefinite 
length  (see  111.).  This  is  called  the  "horizt)ntal  line"  and  represents  the 
line  of  the  eye.  Objects  which  are  above  or  l)eli)w  the  level  of  the  eye  are 
drawn  in  a  corresponding  position  with  regard  to  this  line. 

Make  a  dot  at  or  near  the  center  of  the  line.  This  represents  the 
point  directly  opposite  the  eye  and  is  called  the  "center  of  vision  (C.  \".)  or 
"vanishing  point"  (V.  P.),  as  all  lines  which  retreat  at  an  angle  of  90 
degrees  vanish  or  meet  here.  Draw  a  line  from  this  jxiint  at  right  angle 
to  the  horizontal  line.  The  end  of  this  "principal  visn.il  ray"  is  the  position 
of  the  eye  of  the  spectator  and  is  called  "station  point"  ( S.  P.).  With  a 
compass  measure  off  the  distance  from  C.  V.  to  S.  P.  and  set  them  oft  on 
line  first  drawn  at  M.  P.  1  and  AI.  P.  2.  These  are  called  "measuring 
points. 

Now  draw  the  front  side  of  culte  below  the  hiirizuntal  line  and  to  the 
left  of  the  principal  vision  ray  (1,  2,  3,  4).  In  this  position  we  are  able 
to  see  the  top  and  one  upright,  retreating  side.  These  retreat  at  an  angle 
of  90  degrees  ;  their  directions  are  therefore  towards  the  "center  of  vision" 
(C.  V.)  which  is  their  "vanishing  point"  (V.  P.).  Draw  lines  from  the 
two  top  corners  (1-4)  and  lower,  right  corner  (2)  of  cul)e  to  vanishing 
point  ( \'.  P.).  Now.  the  question  arises,  where  shall  we  place  the  farther 
vertical  and  horizontal  lines  in  order  to  com])lete  the  perspective  drawing 
of  the  cube? 

These  can  be  found  in  tjie  I'ollowinL;  \\;iy  :  Extend  ground  line  of  cul)e 
out  to  the  right.  On  this  line  set  oft'  the  width  (6)  of  the  cube  (3-2).  From 
6  draw  a  line  to  measuring  ])oiiU  1  (.M.  I'.  1).  Where  tiiis  strikes  line  2. 
running  from  2  to  \'.  I'.,  the  farthest  side  of  cube  will  come.  Now  draw  a 
line  from  7  to  8,  parallel  with  side  of  cube  and  from  8  another  line.  ])arallel 
with  top,  over  to  9  and  you  will  have  ail  liie  outlines  of  the  culje  in  their 
true  perspective  relations.  Make  in  all  eight  drawings  of  cubes,  placing  this 
in  eight  dift'erent  positions  to  tiie  eye. 


-Q_ 


FIGURE  I. 


^S' 


F 

\ 

\ 

\ 

/ 

&. 

^' 


eo' 


c 

/ 
/        / 


i^ 


H 

/ 

^ 


J 


y^' 


FIGURE  2. 


PART  TWO. 

Tn  order  to  make  a  true,  perspectixe  drawing;  ol  a  tliior  willi  stpiare 
tiles.  |)roceed  as  follows  (see  illustration):  Draw  horizontal  line  (11.  L.). 
■^,11(1  center  ami  draw  vertical  line  frcjui  \'.  I',  to  S.  P.  and  lin<l  M.  1'.  1 
and  M.  V.  2  as  previciusly  ex])lained.  Draw  a  ground  line  ((i.  L.).  .Set  off 
nearest  edge  of  floor  (1-2)  one-half  <in  each  side  of  1'.  \'.  R.  Divide  this 
edjje  in  efpial  parts  and  draw  lines  from  these  points  to  \'.  1'.  Then  draw 
diagonal  lines  frcini  lower  corners  of  floor  (l-2j  to  M.  P.  1  and  M.  P.  2. 
These  lines  \\\\\  also  form  diagonals  for  the  foreshortened  sipiares,  which 
now  can  he  drawn  in.  Every  second  of  these  ma}-  he  shaded.  Make  a 
large  drawing  of  a  tile  floor,  seen  in  perspective. 

PART  THREE. 

In  order  to  draw  two  houses  showing  gables  and  sides  in  perspective, 
proceed  as  follows:  Draw  horizontal  line  (H.  L.).  Find  center  and  draw 
vertical  line  through  same  I  I'.  \'.  P.).  Set  off  S.  P.  and  M.  P.  1  and  M.  P.  2. 
Then  draw  grotnid  line  {G.  L.).  .\ow  draw  the  near  side  of  the  lir>t  house 
(.\.  P..  ('  and  D).  Then  draw  lines  from  A  and  P>  to  \'.  P.  l-'ind  the 
fariher  ujjright  side  (1  to  2)  hy  the  s.ame  method  as  taught  in  Part  1  of 
perspective.  Xow  draw  .a  line  from  ('.  to  A  and  extend  to  where  it  meets 
vertical  line  (.i).  I'.xtend  line  running  from  1  to  2  to  where  it  strikes  line 
running  from  C  to  3.  which  is  jjoint  4.  I'xtend  a  11.  L.  from  4  to  {',  and 
a  line  from  1)  to  ,i.  Where  line  from  (i.  to  \'.  P.  strikes  line  from  1)  to  ,i 
is  the  ])(Hnt  where  will  come  top  of  roof  (11).  I'.xtend  line  C  1)  to  ( "i  and 
line  11  .\  to  V.  and  draw  a  line  from  !■'.  to  \'.  P.  and  where  this  line  strikes 
line  nnming  from  C  to  ^  is  top  of  gahle(.S).  Then  draw  line  from  .^  to  2, 
which    gives   the    farther   side   of   gahle. 

House  No.  2  is  drawn  in  a  similar  way.  Make  four  different  perspective 
lira  wings  of  houses,  lying  on  both  sides  of  P.  \'.  S.  Make  all  of  your 
drawings  a  great  deal  larger  than  the  illustrations  given  in  this  book. 

PART  FOUR. 

To  draw  a  room  in  true  ])erspective  the  following  method  must  lie 
followed:  1  is  the  front  edge  of  floor,  a  given  s(|uare.  2  is  one  sitle  of 
floor  receding  to  vanishing  ])oint  (  \'.  P.)  which  is.  also  the  jioint  of  sight. 
.?  is  the  other  side  of  flcjor.  receding  to  same  ])oiiit  (hence  the  room  is 
viewed  from  a  position  exactly  opposite  to  its  middle).  4  is  a  scale  to 
obtain  width  of  room   taken,  as   ex])lained  in   Lesson    1,   at   its   intersection 


with  3  is  the  farther  corner  of  floor.  5  is  a  Hue  from  above  intersecting  and 
parallel  to  the  front  edge  of  the  floor;  this  gives  tlie  back  line  of  floor.  6 
is  a  scale  taken  like  4  to  M.  P.  2.  7  and  8  are  front  lines  of  walls,  which 
should  be  made  parallel,  of  ec[ual  height,  and  at  90  degrees  (right  angles) 
to  floor:  at  top  point  connect  them  with  horizontal  line  (H.  L.).  Draw 
lines  from  top  corners  to  \'.  1'.  Mrect  two  lines  at  9  and  10  parallel  with 
7  and  8  and  reaching  11  and  12,  connect  these  lines  with  a  line,  parallel  to 
9  and  10  and  you  will  then  have  all  the  outlines  of  the  room  in  correct 
perspective  planes.  If  you  desire  to  make  perspective  drawings  of  door 
and  window  in  the  room,  this  can  be  done  by  applying  rules,  as  laid  down 
in  former  lessons.  Make  six  perspective  drawings  of  room,  changing  the 
position  of  \'.  P.  in  each  of  them. 

PART  FIVE. 

Figure  7  shows  a  circle  drawn  in  i)erspective.  Draw  a  horizontal 
Hne  (H.  L.)  principal  visual  ray  (P.  \".  R.)  at  an  angle  of  90  degrees  to  this 
and  a  ground  line  (G.  L.j  parallel  wicli  H.  L.  Fix  the  point  where  circle 
is  to  come  in  contact  with  gruund  line  (plane  of  measure)  as  at  A.  Mark 
off  on  G.  L.  the  width  of  the  diameter  of  the  circle  B.  C.  Draw  the  diag- 
onals in  a  perspective  square,  made  as  taught  in  lesson  1.  The  ends  of  the 
diameters  (A,  F,  G,  H)  are  the  four  points  of  contact  of  the  circle  in  the 
persjiective   square. 

For  greater  accuracy  we  must  also  find  points  where  the  curves 
cross  tlie  diagonals.  These  are  found  by  constructing  the  square,  nr  half 
of  it,  in  the  plane  of  measures,  and  having  found  the  points  in  this,  trans- 
ferring them  to  their  corresponding  places  in  the  pers])ective  plan.  Con- 
struct half  of  s(juare  B,  C,  as  one  side.  Draw  the  semi-dianicters  and  semi- 
dii'gonals.  Find  the  points  on  the  diagon.als  through  which  the  circle 
passes  by  measuring  out  on  them,  from  tlie  center,  the  length  of  the  semi- 
diameters,  or  by  inscribing  the  half  circle.  This  gives  points  D  and  E. 
Transfer  these  to  the  ground  line  at  1  and  K  by  vertical  lines.  From  I  and 
K  draw  lines  to  the  \'.  P.  and  where  these  cross  the  diagonals  of  the  per- 
spective sfjuare,  will  be  the  puinls,  corresponding  to  1)  and  I"..  Draw  the 
curved  outline  of  the  perspective  circle  freehand  tlirough  the  points  thus 
obtained.  Make  6  different  drawings  of  circles  in  perspective  in  dift'crent 
positions  to  V.  P.  and  P.  \'.  R. 

PART   SIX. 

Fig.  8  shows  the  metlnKl  of  dr;iwing  a  tumbler  in  perspective.  To 
make    such    a    drawing    correctly,    proceed    as    follows:      Draw    the    nearest 

—30— 


M-P 


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HI- 


s  .-■■' 


Y.P. 
CX 


K 


G.L. 


1^ 


\  IGURE  3. 


M.l. 


s. 


MP- 2. 


(f^^ 


N.  L. 

C.Y. 

H.U 

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^^ 

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FIGURE  4. 


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3. 


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K./? 


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FIGURE  3. 


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7 

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II 

12' 

4 

^                                                                  Wr^ 

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J 

/'^ 

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-\-; 

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V 

■'H-" 

1 

---^      N. 

i         FIGURE  6. 

FIGURE  7. 


yN-^- 


M.L. 


Y.R 


G.lu 


G- 


FIGURE  8. 


cin-le  ill  tlu'  plane  of  measures,  touching  the  (  i.  I..  Draw  A.  11.  fnnii  the 
center  to  the  point  of  coiitac-t  with  the  ( i.  \ ..  This  is  the  radius  of  the 
circle.  Draw  lines  from  .\  ]',  to  \'.  I'.,  thus  .\  will  pass  tlirout^di  the  center 
ol  all  circles,  which  may  he  drawn  heyond.  and  I'  will  ])ass  tlirou<.;h  their 
point  ol  Contact  with  the  ground.  .Mak'e  a  scale  from  1'..  the  actual  distance 
of  the  farther  circle  from  its  position  in  the  foreground.  C.  a  line  from  the 
end  oi  this  scale  to  the  Al.  1 '.  I  will,  wiiere  it  crosses  the  retreating"  line 
frciin  H  at  O,  give  the  position  of  the  fartlier  circle,  l^raw  a  vertical  line 
from  ()  to  1).  Willi  1)  .as  .a  center  and  the  distance  to  ()  as  radius,  draw 
the  circle.  I-ines  coimectini:;  the  circumferences  of  the  twn  circles  will  form 
the  sides  of  the  tumhler.  If  t(.p  ami  holtoni  of  tumhler  is  seen  in  pers])ec- 
tive  ,an<l  not  parallel  with  the  ])icture  plane  must  he  enclosed  in  square  .and 
drawn,  as  descrihed  in  firmer  lesson  on  pers])ective  circles  or  ovals,  h'or 
practice  m.ake  six  ]ierspecti\-e  dr.awings  of  tuniMers  and  cylinders  in  dif- 
terent  ])ositions. 

The  al)ove  ;ire  the  most  essential  rules  of  elementary,  jiarallel  persjjec- 
ti\e  and  \\ill  impart  to  you  sufficient  knowledije  of  the  sim])lest  perspective 
jirohlems  that  vou  have  to  solve  in  your  pra.ctical  work  in  the  sho])  or  studio. 
With  these  rules  well  m.astered  .and  fully  understood  and  com]ilicd  with. 
;ind  a  close  reliance  mi  the  ])ractical  tr.aining  cif  the  eye,  hy  actu.al  study 
Irom  objects  in  i)ers])ecti ve,  you  will  he  en.ahled  to  draw  correctlv  what 
\  1  lU  see  before  vou. 


^^38^ 


CHAPTER  FOUR 


LANDSCAPES  IN  BLACK  AND  WHITE. 


HILi'.  skctcliing  trees  and  making  ft)regTimn(l  studies  vmi  liave  a 
good  chance  to  observe  the  general  outhnes  of  the  surroimding 
landscape  and  to  liecome  familiar  with  the  effects  of  light  and 
shade  in  the  open  air  and  ihesc  observations  will,  doubtless,  hel])  a 

great  deal  wlien  you  commence  to  make  shaded  drawings  of  landscapes  and 

country  sceiiery. 

The  first  thing  to  be  considered  when  going  out  to  sketch  frcjm  nature 
is  to  decide  on  how  much  should  be  included  in  \our  picture  and  how 
luuch  to  exclude.  A  great  many  things  in  nature  nia\  look  both  beautiful 
and  grand,  and  still  not  he  suitable  for  models  for  a  well  balanced  Ijlack- 
and-white  drawing.  The  main  thing  to  avoid  in  vour  landscape  studies 
is  spotted.  salt-and-pe])])er  eti'ects.  with  an  eciiial  amount  of  details  strewn 
all  over  the  |:)icture  and  having  no  detinition  between  far  distance,  middle 
distance  and  foreground.  It  i<  better  to  seek  a  pronounced  contrast  of 
light  and  shade  .^o  that  all  light  objects  show  against  a  dark  background 
and  vice  versa.  To  illustrate  for  instance:  Having  a  light,  sunlit  rock  in 
the  foreground  against  the  dark,  cool  shade  of  a  dense  wood  in  the  middle 
distance,  or  a  black  stump  of  a  tree  throwing  a  strong  shadow  and  sur- 
rounded by  a  lightly  drawn  middle  distance  in  full  sunlight.  In  selecting 
a  subject  for  a  landscape  sketch  choose  a  simple  one  with  some  well-delined 
object   in    the    foreground. 

.^ome  rudimeiUary  knowledge  of  linear  perspective  is  necessary  when 
sketching  landscapes.  Do  not  include  anv  more  ol  the  view  before  you 
than  you  can  see  with  one  glance  v.ithout  moving  your  head  or  eyes.  This 
\iew  is  called  the  ]ir.iiit  of  sight.  If  through  this  point  a  straight  line  he 
drawn  across  the  picture,  ])arallel  to  the  top  and  bottom  of  picture,  this 
line  i^  called  the  "horizontal  line."  It  does  not,  .always,  follow  the  horizon 
of  the  landscape  before  you  and  it  can  be  Laid  high  or  low  on  the  picture,  all 
according    to    \()ur   position,   but    it    should    alwaxs    be    directl\'    ojijxisite    tii 


your  eve.  It  is  the  vanishing'  point  tor  all  straight  lines,  receding  from 
yon;  those  below  the  horizontal  line  will  tend  upwards  to  it,  and  strike  it 
at  a  ])oint  directly  opposite  your  eye;  those  above  it  will  incline  down 
toward  it  and  meet  in  the  "vanishing  ]ioint,"  opposite  your  eye.  It  this  be 
constantly  borne  in  mind,  many  common  errors  of  perspective  will  be 
avoided.  .\  more  detailed  and  scientific  explanation  of  these  phenomenons 
will  be  found  on  a  previous  page  dealing  \\ith  perspective  drawing. 

In  sketching  from  nature  we  must,  also,  consider  the  rudinients  of 
color  pers]iective,  which  show  that  color  and  form  gets  grayer  and  more 
indistinct,  the  farther  the  ol)ject  is  from  the  observer:  this  is  more  notice- 
able on  gray,  cloudy  days  than  in  bright  sunlight,  .\lways  remember  this 
when  making-  an  outdoor  sketch,  otherwise  it  will  be  hard,  unpleasant  and 
devoid  of  atmosphere.  The  object  in  the  near  foreground  slmuld  be  drawn 
with  bdld,  heavy  strokes  of  a  very  soft  lead  pencil,  while  in  the  middle 
distance  the  landscape  should  be  shailed  with  less  vigor,  the  outlines  should 
be  left  softer  and  more  indistinct  and  in  the  far  distance  all  lesser  details 
should  be  omitted  and  the  shadows  should  be  shaded  with  a  very  light 
touch  of  the  ]iencil. 

Your  first  studies  should  be  nia<le  froni  the  sky  withdUt  ;iny  indication 
of  the  landscape  below,  l^^irst  try  to  obtain  the  even,  graduated  shading 
of  a  clear  sky,  making  the  drawing  darkest  at  zenith,  growing  gradually 
lighter,  as  it  approaches  the  horizon.  Next  make  sketches  of  cloud  effects 
and  finallv  of  sunset  efifects.  .Ml  these  studies  should  be  dr.iwn  in  masses 
and  should  slmw  no  outlines   whatever. 

For  your  tirst  studies  select  a  simple  landscape,  easy  to  draw;  tor 
instance,  something  on  the  order  of  the  one  illustrated  in  i'ig.  1.  \  on 
can  use  the  vignetted  style  of  finish  for  the  studies  that  you  should  make 
of  this  landscape,  viewed  from  different  points.  Make  these  first  sketches 
under  a  clear  sk\.  h'or  vcjur  ne.xt  sketches  choose  some  forest  interior 
or  wooded  country.  In  your  last  sketches  yon  should  try  to  obtain  the 
distinct  et'fect  of  atmosiihere  and  illnmin.ition,  choosing  the  early  morning 
or  late  evening  hours  when  the  sh.idow  s  are  long  and  the  distance  h.izy  and 
indistinct. 


INTERIORS. 


Fr<jni    the    forests    and    fields    to    which    the    former    lessons    took    us.    we 
now    tin-n    back    to    the    house    with    oiu"    sketihing    tools    which    we    in    this 


PLATE  4. 


FI6.1 


l^l^S^^^ 


M^smi^T^r^m-, 


V  .^^i^ 


i 


il  1 


lesson  shall   use  in   making  correctly   sketched  and   shaded   drawings   of  the 
interior  of  Cdiiinicin  dwelling  rooms. 

For  models  select  plain  rnoms  with  siinpU'  furniture  and  windows  on 
one  side  only. 

Place  yourself  so  as  to  get  the  light  from  either  the  right  or  left  side 
hut  not  from  the  front  or  back,  as  this  kind  of  light  will  make  the  problem 
of  shading  considerably  more  difhcidt.  liefore  starting  to  make  drawings 
of  interiors  it  will  be  best  for  you  U>  faithfully  copy  the  illustrations  or 
secure  some  illustrations  of  good  magazines.  You  should  strive  to  obtain 
the  same  finished  effect  in  your  interior  sketches  from  life  as  you  observe 
in  these  illustratii  ms. 

For  _\(iur  first  interior  sketch  select  as  a  model  a  piece  of  a  plain 
wall,  showing  a  door  and,  p<issibly  a  picture  or  mirror  hung  on  the  wall 
above  a  chair,  dresser  or  other  piece  of  furniture. 

"Block  in"  the  main  objects,  avoiding  .all  details,  using,  as  usual,  char- 
coal outlines  for  this  ]ireliminary  sketch.  Wipe  out  partly,  correct  wrong 
l)roportions  and  put  in  more  details,  linish  u\>  with  a  hard  lead  pencil  and 
use  a  ruler  on  all  straight  lines.  Finally  shade  up  nicely,  taking  great  care 
to  obtain  all  shadows,  shades,  half-tints  ami  high  lights  in  their  right 
relations  and  density.  If  wall  is  ])apered  indicate  tlie  pattern  of  the  wall 
paper  in  your  finished  drawing. 

For  your  first  sketch  of  wall  and  doirr  remove  ;ill  of  the  furniture  and 
ni.ake  the  sketch  of  bare  wall  and  door  .ilone.  He  sure  that  you  indicate  the 
shadows  under  mouldings  ;ind  panels  in  door  correctly,  and  It  lok  well  to 
\our  high  lights  and  n-tlected  lights  on  door  .and  shade  them  u]i  correctlw 
In  shading  wall  you  will  observe  that  it  has  not  an  e\en  gray  shade  all 
over  but  is  lighter  on  the  part  nearest  the  windijw  and  a  trifle  darker  toward 
ceiling  and   floor. 

When  connnent'ing  xcur  next  sketi'h  from  tlu-  same  model  move  a 
little  further  .iwax  fr(  pui  the  subject  so  your  eye  can  take  in  part  ot  ceiling 
•ind  flour  in  one  glance,  and  include  these  fragments  in  your  ne.\t  sketch. 
I'"or  the  last  sketch  of  this  problem  you  shotdd  hang  ;i  ]>icture  or  mirror  on 
the  wall  and  place  some  plain  furniture  under  it.  lie  very  carelul  in  obtain- 
ing a  correct  drawing  of  this  and  observe  that  your  jierspective  and  fore- 
shortening of  ]ilanes  is  sketched  in  true  to  the  objects  before  you.  before 
vou  proceeil   to  sli.ide  the  drawing. 

l'"or  \our  second  |)roblem  select  the  corner  of  a  room  for  a  model.  Make 
sketches  of  this,  proceeding  as  before,  .and  i)lace  more  furniture  in  the 
corner  before   \ou,  ever\    time   vou  li.i\e  comi)leted  a   sketch   of  the   corner. 


Then  move  lartlier  l)ack  until  \i)U  can  see  all  three  sides  of  rdoni  and  i)ro- 
ceed  to  make  sketches  of  this  \ie\v,  seen  from  three  different  positions. 
Rememl)er  the  simple  laws  of  perspective  ti'iven  on  former  jiaLjes  and  1)e 
sure  that  all  of  the  straight  lines,  receding  from  you,  \\\\\  meet  in  the 
same   vanishing   point,   directly    opposite    your    eye. 

For  your  last  problem  select  a  more  richly  a])i)ointed  interior  with 
elaborate  furnishings.  Make  different  sketches  of  this  interior  as  seen 
from  diiYerent  positions.  Spend  a  good  deal  of  time  on  this  work,  lieing 
very  careful  to  get  all  details  drawn  correctly  and  in  their  right  relations, 
perspective  and  dimensions.  Obtain  this  correctness  of  drawing  in  your 
preliminary  sketches  before  you  start  to  shade  them  up  and  remember 
th;it  no  amount  of  shading  will  hide  a  wrongly  drawn  outline  to  the  eye 
of  a  trained  critical  observer.  In  shading  tr)-  to  indicate  the  softness,  illum- 
ination and  atmosphere  of  the  room  before  you  so  that  your  tinished 
drawing  is  full  of  light  and  shade  and  don't  look  hard,  impleasant  and 
rough.  Go  in  for  strong  contrast,  placing  light  objects  against  dark  back- 
grounds and  vice  versa. 


STREET  SCENES. 


We  will  n(jw  go  out  of  doors  ;ig;iin  and  take  u])  our  sketching  from 
nature,  as  before,  when  we  made  shaded  )iencil  dr.iwings  of  trees,  fore- 
grounds and  landscapes.  This  time  we  shall  try  the  somewhat  harder  task 
of  sketching  houses  and  street  scenes.  The  drawing  of  interiors  should 
have  made  us  familiar  with  the  straight  outlined  objects  and  their  per- 
specti\e  foreshortening.  This  knowledge  will  be  of  great  service  when 
we  begin  to  sketch  a  row  of  liouses,  a  street  corner,  a  market  place,  a 
church,  a  public  s(|uare  or  ,i  long  street  with  high  buildings  wlicre  the 
greater  pari  of  the  dr.awing  consists  of  straight  outline  objects  and  iil.mes 
seen  in  perspective. 

Before  st.arting  to  draw  houses  .and  street  scenes  from  n.itun.'  )-ou 
should  copv  \er\'  carefully  ihr  illustrations  gi\en  here  .and  ,ilso  in  illustrated 
magazines  and  ])a|)ers  lind  a  number  of  cuts  th.it  depict  similar  but  some- 
what more  com])lic;ited  scenes.  Draw  ;i  goo(ll\  number  of  these  and  keep 
this  practice  up  until  you  lia\-c  become  familiar  with  the  methods  and 
techni([ue  of  other  .artists,  then  select  some  |)ostcards,  showing  houses  ;ind 
street  scenes,  i)hotographe<l  from  n.nture,  and  keep  on  making  shaded  pencil 
drawings   from   these   i)rotog"r;iphs    until    \  on   are   ;ilile   to   secure  just    ;is   an 


artistic  and   well-finished   effect   as   that   obtained   l>\-   tlie   artists    whu   drew 
the  oris^inals  of  the  cuts  yon  have  lieen  copying. 

For  vour  first  pniMeni  in  sketchini;-  street  scenes  from  nature  select 
a  single  house,  hins;  at  the  rnadside.  Draw  this  carefully  and  currectly. 
selecting;'  a  view  that  shows  twd  sides  of  the  house.  lie  particular  alHiUl 
the  perspective  and  shade  up  strons^ly.  leavinjj-  a  well-marked  distinction 
between  light  and  shade,  high  lights  and  shadows.  After  having  com- 
pleted your  first  sketch  satisfactorily,  move  to  a  different  position  and 
draw  another  view  of  the  same  house.  l\e]ieat  this  process  several  times 
until  \  ou  ha\e  obtained  several  dit'ferent  and  well-e.xecuted  sketches  cf 
the   h<iuse. 

l'"or  vour  next  ])rol)lem  select  one  side  of  a  street  as  a  model.  (.'he)ose 
a  street  with  few  and  simide  dwellings  or  store  buildings.  Stand  on 
O])posite  side  of  street  when  m.aking  sketch,  and  _\  i  lU  will  nutc  tli.it 
buildings  gradualh'  grow  smaller  and  more  indistinct  as  the\-  recede  farther 
awav  from  \du ;  put  nmre  iletail  work  and  heaviest  shading  on  building 
nearest  to  you.  and  less  and  le-;s  the  farther  the  buildings  lie  n|)  the 
street;  thus  securing  correct  linear  and  aerial  perspective  at  the  same  titue. 
Make  dift'erent  sketches  of  this  row  of  houses,  shifting  your  position 
every  time  so  as  to  obtain  several  views  of  your  model,  with  a  ilifierent 
])rol)lem  of  ])ers])ective  drawing  each  time. 

l'"or  your  last  problem  select  a  more  prominent  business  street  witli 
t.aller  buildings  and,  possibly,  a  market  place,  a  church  or  a  public  building 
in  the  distance.  Select  a  view  from  which  \(iu  can  see  both  sides  of  street, 
and  make  vnur  sketches  on  a  clear,  sunny  day,  sci  that  one  side  of  street 
lies  in  cool  shades  while  the  opposite  is  bathed  in  strong  sunlight.  I'ut 
most  of  the  details  in  sunny  side  and  make  your  shadows  dark  and  strongly 
marked,  wliile  in  the  shaded  side  of  the  street  the  buildings  should  be  left 
grav  and  with  faint  and  indistinct  shading.  If  you  succeed  in  carrying  out 
this  problem  of  illumination  you  will  obtain  sketches  that  will  be  full  of 
atmosi)here  and  sunshine,  if  your  sketches  drawn  from  nature  are  well 
finished  you  will  not  need  to  re-draw  them  at  home,  but  if  your  straight 
lines  are  crooked,  your  bnil<lings  lean  t<i  .and  fro  and  your  persjjective  is 
wrong,  you  had  better  make  a  new  drawing  at  home,  improving  your 
sketch  from  nature  and  correct  all  visible  faults  uf  drawing  and  shading. 


CHAPTER  FIVE 


CRAYON  DRAWING  FROM  OBJECTS. 


IE  crayon  i)eiicil  is  Sdincwliat  liarder  tn  use  than  the  lead  pencil.  l)iit 
the  heautiful  softness  and  richness  of  tone  that  can  be  attained  hv 
this  medium  puts  it  far  ahead  of  the  shiny  and  often  hard  and  me- 
tallic efifect  that  a  fully  shaded  drawing,  made  with  lead  pencil,  is 

likely  to  attain  when  made  by  inexperienced  hands.    And  then  the  crayon  point 

can  be  combined  witji  sti>ni]).  which,  when  properly  used,  gives  soft,  delicate. 

velvety  tints  and  sliades  tli.at  cannot  be  obtained  as  easily  by  any  other  I)lack 

and  wjiite  i)rocess. 

The  materials  to  be  used  in  crayon  drawing-  are : 

One  or  more  Brass  Crayon  Holders. 

Charcoal  sticks. 

One  Conte  Black  Crayon   Pencil   \o.  0  (hard). 

One  Conte   I'.lack  Crayon   Pencil  No.  2  (Medium). 

One  Conte  Black  Crayon    Pencil  Xo.  .3   (soft). 

Six  Sticks  Scjuare  Conte  Sepia   (Bistre). 

One  Conte  Crayon,  white,  in  polished  cedar. 

One  Crayon  .Sharpener  (sandpaper  block). 

One  jiiece  .Sponge   Rubber  or  art   gimi. 

Drawing  Board  and  tiuunbtacks. 

Tinted  and  white  charcoal  paper. 

Rough  surface  drawing  ])a])er. 

One  each  Nos.  3,  6,  8  yellow  leather  stomps. 

One  each  of  Xos.  3,  6.  8  gray  paper  stomps. 

One  dozen  TcirtilldU    stomj)s. 

These  materials  are  not  exijensive  and  can  be  ha<l  at  all  large  art  stores 
or  painters'  sn])i)ly  houses. 

When  selecting  the  models  for  your  crayon  drawings  from  objects 
choose  some  of  a  nujre  difticult  and  intricate  design  than  those  you  have 
been  dr.iwing   f n  mi   so   far.     .\rrange   them   on   a   tal)le   or  stand,  against   a 


suitable  background  and  try  to  (Ma'm  pleasing  ^rtmbinations   and   effc-^ttUi 
arrangements  of  the  objects. 

For  one  conibinaticm  we  should  -suggest  an  old  *orn  book,  showing 
])ai)er  bookmarks  protruding  from  the  leaves.  Open  the  book,  place  a 
rosary  with  crucifix  and  a  bluoming  rose  on  top  of  it.  Set  a  brass  candle- 
stick with  a  half-burned  candle  in  it  behind  the  book;  in  the  foreground  an 
inkwell  made  out  of  steer's  horn  with  a  goose  quill  in  it  and  an  hour  glass 
placed  next  to  it  will  make  the  composition  still  better,  .\niither  effectual 
composition  is  formed  by  tipping  over  an  nld  market  iiasket  and  having  all 
kinds  of  fruit  and  vegetables  pouring  uut  of  it.  Be  sure  U<  (dace  vour 
model  in  a  good  strong  light  coming  from  one  side  only,  so  that  your 
objects  show  up  in  good  relief  with  clear  lights  and  well  defined  shadows. 

Place  a  few  sheets  of  white  drawing  or  charcoal  paper  on  vour  drawing 
board  and,  after  having  arranged  your  model,  as  indicated  above,  place  your 
drawing  board  in  an  advantageous  position  and  proceed  to  block  in  the 
composition,  using  a  well-])(iinted  stock  of  charcoal  for  this  work  and 
omitting  all  curves  and  smaller  details  in  your  preliminary  sketch,  which 
should  only  indicate  the  main  features  of  the  composition,  sketched  down 
in  their  right  proportions  with  a  few  (|uick  strokes  of  the  charcoal.  When 
you  are  sure  that  your  nutline  sketch  is  correct  as  to  dimensions  and 
relative  proportions  of  the  objects,  wipe  out  charcoal  lines  partlv,  and  redraw 
with  a  well  pointed,  hard  crayon,  this  time  paying  more  atention  to  details 
and  curves.  Touch  the  paper  very  lightly  with  the  crayon  point,  and  make 
a  clean  even  outline  which  should  not  show  after  your  drawing  has  been 
shaded. 

Now  start  to  shade  in  the  background,  following  the  lights  and  shades 
as  they  apjiear  in  the  liackground,  using  a  soft  crayon  for  this  work  ,-iiid 
make  the  shading  a  great  deal  lighter  than  it  appears  in  nature. 

Then  take  niie  of  your  large  paper  or  leather  stomps  .nul  rub  lightly, 
but  lirnil},  over  the  shaded  jjart  of  your  drawing  until  all  blocliiness,  un- 
e\ennes-i  and  roughness  is  eliminated  and  the  shaded  part  has  a  soft  velvetv 
api)earance.  Where  the  backgnmnd  tdUihes  the  dUtlines  i>f  tlie  oi)jects  it 
will  be  advisable  to  use  a  smaller  stomp,  so  as  to  cut  in  sh.iding  with  a  clean 
line  arnuml  the  unshaded  parts. 

.'starting  to  shade  the  objects,  you  sliouhl  l)egin  with  Ihe  heaviest  shades 
and  ])Ut  them  in  first,  then  go  to  the  middle  tints  anil  leave  highlights  clear. 
Hub  liver  yniu-  drawing,  as  you  did  ii\er  the  backgnnmd,  using  a  medium 
and  small  size  stomp.  Where  hall'ti'iies  meet  highlights  the  point  slmuld 
not  be   used,  but   just   the   stiMi']),   charged    with    whatever   craven    dust    there 


may  be  left  on  it ;  in  this  way  you  can  obtain  a  very  fine  graduation  of  tints 
from  the  Hghtest  halftones  to  brilliant  white  highlights.  After  the  whole 
drawing  has  been  smoothed  with  the  stomp  it  may  have  lost  some  of  its 
strength  and  vigor.  This  can  be  restored  by  going  over  the  heaviest  shades 
and  shadows  with  the  ])oint  and  leave  tliese  marks  unrubbed  in  finished 
sketch. 

As  a  study  for  your  first  crayon  drawing  use  the  old  market  basket, 
spoken  of  before.  Fill  it  with  fruit  and  vegetables,  put  it  on  the  model  stand 
in  front  of  you  and  tip  it  over  so  that  the  contents  fall  partly  out  and  spread 
on  the  table.  Arrange  a  plain  backgronnil  ]>ehin(l  the  model  and  proceed 
to  sketch  it  in,  as  described  before.  Be  very  careful  to  obtain  a  correct 
outline  sketch  before  you  start  to  shade  your  drawing,  as  no  amount  of 
shading  will  correct  a  faulty  drawing.  Place  basket  and  contents  in  differ- 
ent positions  and  make  in  all  four  or  six  studies  from  this  model. 

For  the  next  models  use  iil)jccts  such  as  candlesticks,  old  books,  de- 
canters, mugs,  vases,  jardinieres,  china,  etc.  .Arrange  several  ])ieces  of  these 
models  in  effective  and  artistic,  pyramidal  compositions  and  make,  in  all, 
not  less  than  twelve  different  sketches  of  these  compositions. 

Having  made  these  drawings  and  now  being  familiar  with  the  effects 
that  can  be  obtained  with  crayon,  point  and  stomp,  you  should  secure  some 
plants  and  flowers  and  make  .'ibuut  si.x  studies  of  these,  profiting  by  the 
experience  gained  in  \iiur  ])rcvi(ius  attempts  ;it  drawing  flowers  with  lead 
pencil. 

As  the  scenic  artist  will  have  many  occasions  to  paint  draperies  and 
draped  goods,  it  would  be  well  for  him  to  have  a  thorough  knowledge  of 
the  drawing  of  drai)e(l  goods,  and  ynu  should  select  some  light  goods,  such 
as  silk  or  silkoline,  velvet  or  velveteen,  and  hang  this  u])  in  artistic  folds 
and  drapings  and  then  make  different  crayon  studies  of  these  draperies. 

I'"i)r  your  last  crayon  drawings  from  objects  use  tinted  charcoal  paper, 
pink,  buff,  cream,  gray,  or  light  green,  or  any  other  tint  that  can  be  ob- 
tained. I'roceed  as  before,  hut  do  not  use  the  stomp:  try  to  obtain  a  smooth, 
finished  eft'ect  with  the  jxiint  alone  and  put  in  the  strongest  highlights  with 
white  chalk  or  cravon. 


CRAYON  DRAWINGS  OF  INTERIORS. 


Before  you  start  to  make  crayon  drawings  of  your  rooms  you  should 
select    a    few    illustrations    from    the    current    magazines,    showing   interiors 


drawn  in  crayon.     Copy  these  to  the  best  of  your  ability  and  ymi  will  thus 
learn  how  other  artists  have  oiitained  certain  eltocts. 

You  should  ])rofit  b\-  this  knowledge  when  you  come  to  make  interior 
drawing's  directly  from  nature.  Before  starting  read  over  the  directions 
given  in  a  previous  lesson  for  the  making  of  interior  drawings  with  lead 
pencil.  The  same  general  rules  laid  down  in  that  lesson  \\\\\  hnld  good  when 
you  come  to  employ  the  crayon  point,  only  that  \ou  ntjw  have  an  extra  tool 
at  ycnu'  service,  the  stomij.  with  which  you  can  obtain  softer  and  more 
transparent  shades  than  with  the  lead  pencil.  First  get  a  correct  outline 
sketch  of  y<]ur  niddel,  then  la}"  in  all  the  shades  in  a  great  deal  lighter  key 
than  in  nature,  using  the  stomj)  only,  dipping  it  in  scrapings  from  ynur 
crayon  point  when  you  desire  dark  shades  and  using  it  with  very  little 
crayon  dust  on  it  when  you  want  light  tints,  leaving  the  strongest  high- 
lights blank.  Then  strengthen  all  your  shadows  with  the  crayon  point  and 
])Ut  in  the  smaller  details  with  this;  rub  dvcr  the  study  lightl_\-  with  a  clean 
stomp  and  finally  strengthen  the  darkest  shades  and  shadows  with  the 
point,  using  a  soft  crayon  for  the  shading  and  a  hard  one  for  the  outlining. 
If  your  highlights  have  been  mussed  up  they  i-an  l)e  cleaned  with  a  small 
soft  eraser  cut  to  a  point  like  a  stomp,  smaller  highlights  can  also  l.)e  cut 
out  with  this  handy  tool.  Choose  a  plain  interior  for  \our  hrst  four  sketches, 
then  a  luore  difficult  one  and  finally  one  containing  many  details  and  much 
furniture.  Make  the  last  sketches  on  tinted  ])a]5er  an<l  bring  out  highlights 
with  white  crayon  or  chalk. 


CRAYON  DRAWINGS  OF  LANDSCAPES. 


Beautiful  lanilscajjc  sketches  can  be  made  with  the  crayon  puini  and 
stomp.  As  before,  you  should  select  some  jirinted  illustrations  reproduced 
from  well-known  artists'  crayon  rlrawings  and  copy  these  faithfullv  before 
you  attemjjt  sketching  from  nature. 

When  starting  to  makt-  sketches  in  crayon  out  of  tloors,  the  rules  for 
landscape  ])ainting  given  in  a  previous  lesson  should  be  studied  anew  aiwl 
followed  in  making  the  cr.aynn  sketch.  The  sky  can  in  most  cases  be  ])Ut 
in  entirely  with  the  st(>ni]i,  and  beautiful  and  soft  cluud  elTects  can  be 
built  up  with  this  handy  tool.  .Make  sexeral  landscape  studies  in  craycjn, 
going  from  easier  to  more  difficult  motifs  for  your  sketches,  biU  be  sure 
that   your   ci  impositions   are    well    balanced    and    secure    strong   contrasts    of 


light  and  shade  in  the  foreground  and  softer  blending  in  the  middle  and  far 
distance.  Use  tinted  paper  and  white  crayon  for  highlights  for  the  last  of 
your  landscape  sketches. 


CRAYON  DRAWINGS  OF  FIGURES. 
The  Human  Anatomy. 


We  now  come  to  the  solving  of  a  more  difficult  jjrohlem  than  we,  so 
far,  have  encountered,  namely,  the  drawing  of  the  human  figure.  As  you 
can  not  pose  as  a  trained  scenic  artist  without  some  rudimentary  knowledge 
of  the  human  anatoni}-  and  figure  drawing,  we  shall  here  give  you  the 
essentials  of  this  work  in  a  few  brief  remarks,  followed  by  some  practical 
hints  and  directions  for  the  executitjn  of  the  simplest  of  these  drawings. 

In  constructing  a  true  represer.tation  of  the  human  frame  we  must  first 
consider  the  osseous  (bony)  structure,  which  is  covered  with  sinews  (i)eri- 
sotium),  muscles,  layers  of   fat  and  adijiose  membrane   (<if  the   skin). 

We  shall  first  consider  the  bony  structure  (the  skeleton).  The  skeleton 
is  a  combination  of  st)me  200  bones,  but  here  will  onl\-  be  considered  the 
most  important  of  these.  The  human  structure  is  divided  into  the  trunk 
and  the  extremities.  The  former  consists  of  the  head,  the  ribs,  the  breast- 
bone, the  hijihones  and  the  b.-ickbone,  the  latter  are  the  arms  and  legs.  The 
bones  of  the  head  ctmsist  of  the  cranium  and  the   face. 

When  the  backbone  is  viewed  in  profile  it  has  a  somewhat  curved  and 
serpentine  form.  The  bearing  of  the  figure,  more  or  less  ujiright,  is  de- 
pendent on  the  curvature  of  the  sjiinal  cijlumn. 

.All  the  ribs  (sec  ligure  of  skeleton)  present  a  form  opposite  to  that  of 
the  living  figure  it  should  be,  nevertheless,  well  considered  as  the  toundation 
Ujxin  which  must  be  built  the  true   t<inn  of  the  ])rincipal  part  of  the  trunk. 

The  breastbone  ])rotrndes  forward  and  downward.  In  the  female  the 
angle  is  greater  than  in  the  male,  while  the  neck  is  more  ui)right  in  a 
woman  than  in  a  man. 

The  pelvis  is  larger  and  more  capacious  in  the  female  than  in  the  male. 

The  upper  ,irm  consists  of  one  bone,  the  lower  of  two.  1  here  are 
numerous  small  bones  in  the  carpus  (the  wrist),  metocarpus  (back  and 
palm  of  the  hand),  to  which  succeed  the  bimes  of  the  fingers. 


The  upper  leg  consists  of  one  bone,  the  thigh  bone,  and  below  the  knee- 
cap of  two  bones. 

The  form  of  the  head  is  indicated  by  the  skull  and  the  lower  jaw.  The 
shape  of  the  forehead  is  indicated  by  the  frontal  bone  that  differs  with  in- 
dividuals and  races  ;  that  of  the  European,  however,  has  been  given  as  the 
acknowledged  standard  of  its  height. 

Before  starting  to  draw  any  part  of  the  human  body,  you  should  draw 
the  illustration  of  the  skeleton,  given  herewith,  and  make  one  or  more  large 
and  absolute  correct  drawings  of  the  same.  Sketch  in  charcoal,  redraw  with 
lead  pencil  and  finish  u])  the  outline  and  shade  with  pen  and  ink.  trving  to 
imitate  the  eft'ect  of  the  cuts  illustrating  this  lesson. 

To  enumerate  all  of  the  muscles  of  the  body  in  this  brief  treatise  would 
occupy  too  much  space  and  would  not  be  necessary  for  our  purpose.  We 
should  urge  the  pupil,  however,  to  stud\-  carefully  the  illustrations  given 
herewith  and  to  copy  every  one  of  them  faithfullv  several  times  until  he 
knows  by  heart  the  location  and  nutlines  cf  the  most  impcirtant  muscles  and 
the  correct  ])ro])iirtions  of  the  human  body. 


FIGURE  DRAWING  FROM  LIFE. 


Having  obtained  a  fair  knuwledge  of  the  various  proi)ortions  of  the 
human  bixly.  you  should  procure  frum  6  to  10  artistic  illustrations  of  the 
nude,  male  and  female  figure  and  copy  them  faithfully,  thus  enlarging  your 
knowledge  of  the  human  form.  After  having  completed  a  number  of  these 
studies  you  are  now  far  enough  advanced  to  be  able  to  draw  figures  and 
heads  from  life,  but  should  nut  attempt  to  do  too  much  when  starting  this 
verv  diftlcuh  but  ciiually  ini|)(irlaiit  work. 

Start  with  dr;i\ving  parts  of  the  body  lirst.  using  some  of  your  friends 
as  models.  I-'irst  make  drawings  of  eyes,  as  seen  in  different  positions. 
Then  draw  an  e(|ual  number  of  noses,  both  in  jirotile  and  seen  from  the 
front,  then  as  many  drawings  of  mouths,  ears  and  hair.  After  tli;it  try  a 
face  in  prcifile  ;ind  fin;illy  make  sketches  of  the  full  face.  Keep  up  sour 
stu(l\-  of  the  figure  by  making  sketches  lirst  of  the  arms,  then  the  legs,  next 
the  trunk,  and  linally  of  the  feet  and  hands  and  at  last  of  the  full  figure  in 
different  positions.  Do  not  think  that  we  ask  }ou  to  do  too  much  i^>f  this 
kind  of  work  ;  it  is  very  important,  and  good  figure  painters  have  the  ad- 
vantage of  the  other  fellow  who  can  not  draw  figures  Iroin  lile. 


PLATE  5. 


=  "KliKgM  JMIlKKaf^  = 


COPyR/GHT- 


TER  CUTICLE   REMOVED  .  tjHQWlN^     MUSCLES  OF    HE  AD,  KSeOs  TKUNK  ?^  LIM8S 


PORTRAIT  WORK  IN  CRAYON  ON  ENLARGED  PRINTS. 


The  Crayon  point  is  es|;ecially  \vr!l  adapted  to  purtrait  work,  and  1:)y 
the  use  of  the  sttimp  or  a  jiiece  of  cotton  dipped  in  crayon  sauce,  the  soft 
and  delicate  shading  of  the  hnnian   face  can  he  (jhtained  with  great  ra])idity. 

For  }'C>ur  first  atteni])t  at  tliis  kind  of  work  copy  some  lieads  done  in 
cravon  by  some  of  our  liest  ilhistrators.  then  select  some  halftone  repro- 
ductions of  photographs  of  heads  and  copy  them  in  crayon.  Next  use  a 
photo  of  yourself  or  some  friend,  as  the  original:  jjrocure  an  enlarged  print 
of  this  photo  and  retouch  it  all  over  with  the  crayt)n  point  and  stomp  and 
you  will  be  surprised  to  see  what  a  beautiful  and  lifelike  effect  you  easily 
can  obtain. 

After  worked  up  in  crayon  they  should  sell  for  froiu  .S,?.0O  Ic)  $5.00 
apiece. 

Ciood  figure  drawing  is  one  of  the  most  difficult  in  the  whole  book,  and 
we  should  advise  you  to  jiay  a  great  deal  of  attention  to  it  and  spend  con- 
siderable time  on  it,  and  we  can  assure  you  that  this  will  pay  30U  well  in 
the   future. 


; 


CHAPTER  SIX 


PEN  DRAWING. 


HE  foremost  scenic  painters  are  of  the  opinion  that  the  "greatest 
difficulty  in  the  way  of  a  beginner  who  attempts  to  learn  to  draw 
iir  paint,  is  to  learn  to  see.  It  is  obvious  that  we  can  not  represent 
the  appearance  of  an  object  with  exactness  and  precision  if  we  are 
not  al)le  to  see  it  correctly.  It  is  self-evident,  therefore,  that  the  most  import- 
ant part  of  learning-  the  scene  painters'  art  should  consist  of  training  the  eye 
and  the  hand,  and  no  better  means  t(j  that  end  can  be  found  in  the  practice  of 
drawing  from  copy  olijects  and  nature  with  pen  and  ink. 

The  scenic  painter  will  often  have  occasion  to  use  pen  drawings  in 
their  profession  and  will  frecjuently  be  called  upon  to  make  this  class  of 
work  for  cuts  and  illustrations  that,  at  the  present  day,  can  be  made  very 
quickly  and  cheaply,  and,  as  the  artist  who  knows  how  to  make  pen  draw- 
ings for  reproduction  has  a  great  .idvantage  over  the  other  fellow  who  has 
not  studied  this  kind  of  art  work,  we  have  included  a  short  treatise  on  the 
art  of  pen  and  ink  drawing.  The  efticiency  of  execution  and  the  splendid 
training  of  eye  and  hand  gained  by  this  practice  will  rep.'iy  many  times  for 
the  trnuble  and  time  spent  in  this  instructive  study. 


TECHNIQUE  OF  PEN  DRAWING. 


Of  late  years  several  infiutnces  have  tended  to  raise  the  importance  of 
pen  and  ink  drawing  as  an  independent  art.  Chief  among  these  is  the  grad- 
ual  substitution  of  photo-chemical   process    for  the   hand    work   of   the   en- 


There  are  two  distinct  methods  of  obtaining  elTects  with  the  pen,  one 
by  few  lines  laid  slowly,  and  the  other  by  many  lines  drawn  with  rapidity. 


As  most  pen  and  ink  drawings  are  now  done  with  a  view  to  reproduction 
in  the  printing  press,  it  shotild  materially  assist  you  to  know  how  this  is 
brought  about.  The  following  is  a  sin'iplitied  description  of  the  ordinary 
zinc  etching  process.  A  photographic  negative  is  first  taken  of  the  draw- 
ing, in  which  the  aim  is  to  secure  perfectly  clear  glass  wdiere  the  lines  are, 
and  an  opacjue  black  for  the  ^vhite  paper.  A  polished  plate  of  zinc  is  coated 
with  a  thin  film  of  gelatine  to  wdiich  a  small  percentage  of  bichromate  of 
potassium  has  been  added.  This  metal  plate  is  then  put  into  a  photographic 
jjrinting  frame  tmder  the  negative,  just  as  if  it  was  prepared  pap)er,  and 
exposed  to  the  light.  After  sufficient  expostire.  it  is  removed  from  the 
printing  frame  and  placed  in  warm  water,  when  the  unexposed  parts  of 
the  film  dissolve  away,  leaving  only  lines  of  gelatine  hardened  and  insoluble 
where  the  light  has  penetrated.  When  dry  it  is  submitted  to  the  action  of 
a  corrosive  licjuid  (oerchloride  or  iron),  which  attacks  the  metal  where  free 
from  gelatine  and  so  eventually  lowers  tlie  surface  r)f  all  but  the  lines. 
These  lines  remain  st;mding  to  be  printed  from  al<ing'  with  the  raised  type 
of  the  letter  press. 

'J'he  importance  of  making  perfectly  black  lines  and  using  clean  white 
])aper  can  hardl}-  lie  exaggerated  from  the  technical  jjoint  of  \ie\v. 

A  i)en  drawing  may  either  be  sketched  in  ])encil,  to  be  removed  after- 
wards with  a  soft  eraser,  or  made  m  iiencil  on  another  piece  of  jKiper  and 
traced,  using  blue  tracing  paper.  Tliere  is  a  third  method,  that  of  making 
a  verv  decided  pencil  drawing  on  one  piece  of  paper  and  then  choosing  a 
thin,  semi-transparent  paj)er  on  which  to  make  the  jien  drawing.  This 
paper  is  laid  over  the  drawing  so  that  it  may  be  seen  through  and  serve  as 
a  guide.  In  making  a  pen  drawing  from  a  printed  copy,  this  can  be  secured 
with  ])ins  or  strips  of  gummed  paper  tn  the  back  of  the  sheet  that  the  pen 
drawing  is  to  be  made  on  and  then  iudd  up  in  front  of  a  window  pane  or 
glass  plate  in  front  of  an  artificial  light  and  the  outline  of  the  ]irinted  copy 
can  thus  be  seen  through  the  white  ])aper  and  be  traced  with  the  ])encil. 
.\  ])en  drawing  can  also  be  made  over  a  jjliotograph,  blue  print  or  photo- 
grai)hic  enlargement  tm  Steinback  pa]ier.  .\fter  the  i)en  drawing  has  been 
made  on  the  photograph,  this  can  be  bleached  out  by  being  sponged  over 
with  the  following:  Saturated  solution  of  iodine  in  .alcohol,  one  part; 
cyanide  of  potassium  in  water,  two  parts;  after  which  the  drawing  must 
he  washed  well.  Conunon  blue  print-  can  be  bleached  out  by  innnersion 
in  water  containing  a  little  common  soda. 

In  m.aking  corrections  on  ;i  pen  drawing  a  very  sharp  penknife  shtiuld 
be  used.  If  Chinese  White  is  used  for  corrections  or  to  line  up  solid  blacks, 
care  should  be  taken  to  keep  touches  sufficiently  opaque.     The  best  ink  for 


pen  nnd  ink  drawing  is  Iliggin's  \\  aterpruot  lUack  Drawing  Ink.  A  very 
sm.iiith,  hand-made  white  paper  is  the  liest  for  pen  drawings;  a  good  grade 
of  Scotch  hnen  paper  will  di>  very  well.  For  commercial  ])uri)ci.-es  we  rec- 
t)mmend  a  two  or  three  \)\y  Wedding  Bristol  Board.  Some  scenic  artists 
prefer  a  clay  coated  jiajier.  as  this  allows  erasures  with  great  ease  and 
solid  l)lacks  can  be  lighted  up  with  the  point  of  the  knife.  There  are  also 
process  papers,  the  so-called  "Ross  Hoards,"  thai  lia\e  a  ruled  or  dotted 
surface  on  a  hca\-_\-  clay  l)ody  which  can  lie  scraped  for  highlights. 

The  best  pen  for  very  line  lines  is  a  (lilloit  Crow  Ouill.  For  all  ordi- 
narv  work,  a  No.  303  (jillott  is  most  serviceable,  and  for  very  coarse  lines 
an  ordinary  Spencerian  writing  \)en  or  even  a  stub  pen  can  be  used.  For 
ver\-  large  work  and  for  jnitting  in  flat  masses  of  black,  a  well-pointed 
watercolor  brush  siiould  be  used. 

in  making  designs  to  be  reproduced  by  the  jihoto-mechanical  process 
it  is  usual  to  draw  them  considerably  larger  than  they  are  to  be  eventually 
j)rinted.  The  best  dimensions  are  to  make  3'our  drawings  to  a  scale  of 
about  twice  the  linear  measurements  rec[uired  :  in  other  w-ords,  four  times 
the  area.  If.  for  instance,  the  size  of  the  cut  is  to  be  six  inches  high,  the 
drawing  for  it   should  he  made  twelve  inches  high. 

Straight  lines  can  lie  ruled  in  mechanical  W(jrk,  biu  in  all  artistic  work 
it  should  l)e  ruled  in  the  pencil  sketch  only  and  gime  over  free  hand  in  the 
pen  drawing. 

There  is  an  easy  device  for  putting  a  tint  over  parts  of  the  drawing. 
It  is  obtained  by  charging  a  toothbrush  with  drawing  ink.  holding  it  face 
downward  o\er  the  design  ;uk1  then  draw  a  match  or  knitting  needle  along 
the  brushes  so  as  to  i)ro(luce  a  shower  or  spray  of  small  black  drops  of  ink 
on  the  surface  ex])osed.  The  parts  that  ,ire  to  be  kept  free  from  spatter- 
work  must  be  covered  with  jKiper  and  the  |i;irt  to  he  sprayed  over  cut  out 
with  a  sharj)  knife  like  a  stencil  ])attern  ;  this  kind  of  work  can  be  used 
in  fl;it  bai-kgrounds  or  to  represent  old  stone  walls,  rocks  and  some  kind  of 
coarse  nappy  goods.  .\  liner  but  not  so  .artistic  s])atter  can  be  oljtained  in 
a  similar  way  with  the  air  brush,  bm  as  this  tool  is  pureK'  mechanical  we 
shall  not  aim  to  describe  it  more  fullv. 


PREPARATORY  EXERCISE. 


.\n  outfit  for  making  pen  and  ink  drawings  should  consist  of  the  follow- 
ing materials ; 


Sheets  of  white,  smootli  paper. 

A  hard  lead  pencil. 

A  soft  pencil  eraser. 

A  ruler  with  beveled  edge  (brass  lined  preferred). 

Gillott's  pens  Nos.  290  and  303. 

Ordinary  writing  pens,  medium  and  coarse. 

A  small  and  medium  camel  hair  brush  or  sable  brush. 

A  bottle  of  Chinese  White. 

A  bottle  of  Higgins'  waterproof  black  drawing  ink. 

A  few  penholders,  a  sharp  penknife. 

Start  your  practice  work  by  making  straight,  vertical  and  parallel  lines 
with  slow  stroke  and  with  a  pen  of  medium  fineness  (Fig.  1,  Plate  6).  In 
I)en  drawing  there  is  no  particularly  preferred  way  to  hold  the  pen  or  place 
the  paper.  The  general  rule  among  pen  artists  is  to  hold  the  ])cn  in  such 
a  manner  as  to  give  the  most  freedom  and  ease  td  the  hand.  It  is  best  to 
have  the  light  by  which  you  work  come  from  the  left  side.  You  will  soon 
find  out  that  a  stroke  carried  toward  you  is  the  easiest  to  make,  and  one 
away  from  you  is  harder  to  manage.  To  start  with,  and  while  you  are  prac- 
ticing, you  should  try  strokes  in  all  directidus  witimut  removing  the  paper; 
later  on,  when  you  have  obtained  the  necessary  flexibility  cif  the  fingers, 
hand  and  wrist,  you  can  turn  the  paper  in  any  direction  to  make  the  stroke 
the  easiest.  After  having  practiced  the  vertical  lining,  sldwly  tr}  tlie  s.mie 
thing  over  again,  now  making  rapid  strokes  with  the  pen,  but  still  cimtrol- 
ling  it  so  the  lines  remain  straight  and  parallel.  Next  try  tu  dci  the  same 
kind  (if  lining,  starting  the  line  irnm  below  and  drawing  it  witii  a  stroke 
away  from  you.  Having  finished  your  practice  work  of  vertical  lines,  you 
should  ne.xt  go  through  the  same  exercises  with  tlie  horizontal  lines,  then 
the  slanting  ones,  next  the  "cross  hatchetl"  (Fig.  5),  then  the  short  liroken 
lines,  also  the  zig-zag  lines,  and  finally  the  stipjilcd  (l<its.  All  this  prelini- 
inarv  practice  will  develop  the  nimbleness  of  your  hand  and  st.iiicl  you  ;i 
good  turn  when  you  commence  to  make  shaded  pen  drawings. 


COPYING  FROM  PRINTS. 


In  tjrder  to  learn  how  other  ;irti-~ts  h;ive  obtained  certain  effects  witli 
pen  and  ink  you  luust  obtain  a  ct)llection  of  printed  reproductions  of  artistic 
pen  drawings  and  go  to  work  and  copy  these,  imitating  the  artist's  manner 


PLATE  6. 


IG.  1        r/6.2.      rJG.3      FJG.±      rjG.S     FW.6      fjg.7     Fia.8 


Fia.^ 


Fia.to 


Fja.ji 


Tia.FiL 


no.  J  3 


r/o.  i^ 


FIG.  J  6 


and  strcjkes.  as  closely  as  possible.  This  cnlk-clidii  nf  jirints  or  studies  should 
start  with  simple  outline  work,  then  show  samples  of  work  with  solid  back- 
ground and  hnally  a  few  showing  the  more  intricate  and  sketchy  manner 
of  the  accomplished  modern  illustrators,  such  as  Charles  Dana  (iibson.  How- 
ard Chandler  Christie.  Montgomery  Flagg,  and  others. 


PEN  DRAWING  IN  OUTLINE  FROM  OBJECTS. 


Select  some  simple  objects,  such  as  cups,  saucers,  glasses,  cutlery,  fruit, 
vegetables,  etc.  Place  them  on  the  model  stand  in  a  good  strong  light 
against  a  suitable  plain  background  and  start  to  sketch  in  the  objects  on 
vour  drawing  paper,  using  a  hard.  well-])ointed  lead  ])encil  for  this  work 
ami  drawing  in  li.ght,  delicate  lines  that  easily  can  l)e  erased  after  they 
have  been  gone  over  with  a  pen.  When  you  have  done  this  and  have 
obtained  as  good  an  outline  as  you  possibly  can.  paint  in  the  black,  cloud- 
like background  behind  the  object,  as  indicated  in  Figs.  9  to  12. 


SILHOUETTES  AND  POSTERS  IN  PEN  AND  INK. 


A  silhouette  is  a  shadow  j^icture  of  some  object  or  ligure  made  in  solid 
black  on  a  white  background.  These  silhouettes  were  used  a  great  deal,  as 
famiK  ]Hirlraits,  in  the  Revolutionary  and  j-'.nipire  ])eri()ds  and  are  of  great 
decorative  effect  in  interiors  from  those  days  or  on  ])ictorial  and  decorative 
cards  in  Empire  st}  le.  I'^or  the  first  attemiH  .at  this  kind  of  work  trace  some 
figures  or  portraits  on  a  sheet  of  smooth,  wliite  pajier.  go  over  the  outlines 
with  the  ])en  and  lill  in  black  with  the  brush.  If  _\-ou  desire  to  follow  up 
this  interesting  and  comjjaratively  easy  work,  you  m;iy  place  your  objects 
or  models,  if  you  wcjrk  from  life,  in  front  of  a  window  covered  with  white 
transparent  cloth  (cheese  cloth)  so  that  the  figure  is  seen  as  a  l)old  shadow 
against  the  light  ;  then  sketch  in  the  outlines,  redraw  with  i)en  and  lill  out 
in  black  with  the  iirush.  In  this  way  you  will,  with  some  ])ractice.  be  able 
to  make  creditable  jirofde  shadow  [lictures  or  silhouettes  of  your  friends 
and  ac(|uaintances. 

The  so-called  poster  st_\le  is  originally  derived  irum  the  |)eculiar  Jap- 
anese manner  of  making  drawings   with   a   pointed   brush.      I  his   method   is 


bold  and  decorative  in  appearance,  showing  solid  blacks  and  pure,  unshaded 
whites.  This  peculiar  way  of  making  decorative  pen  drawing  was  originat- 
ed and  introduced  in  England  by  Aubrey  Beardsley  a  little  more  than 
twenty-five  years  ago,  and  is  still  in  vngue.  being  much  used  for  book 
covers,  pictorial  advertisements  and  decorative  posters  and  billboards.  Figs. 
13,  14-16  show  samples  of  poster  designs. 


SHADED  PEN  DRAWINGS  FROM  OBJECTS. 

Select  different  household  articles  or  bric-a-brac  for  models.  Place  the 
articles  you  want  to  draw  in  a  good  light  coming  from  one  side  only,  sketch 
in  with  a  hard  lead  pencil  outline  and  shade  with  pen.  For  your  next  at- 
tempts use  a  square  box  as  a  model.  Draw  it  first  in  outline,  then  shade 
in  as  many  diflferent  ways,  as  indicated  in  Fig.  1,  Plate  7.  For  your  next 
pen  drawing  use  an  egg  as  a  model.  In  shading  it  try  to  obtain  the  correct 
smoothness  and  roundness  of  the  surface.  You  can  put  in  a  plain  back- 
ground, formed  of  parallel  lines,  drawn  in  all  directions,  as  shown  in  Fig.  3, 
Plate  7.  Make  in  all  six  or  eight  difterent  drawings  of  eggs,  single  and  in 
groups,  all  in  diiiferent  positions  and  light.  For  your  next  set  of  studies 
use  an  old  shoe,  boot  or  slipper  for  a  model.  Draw  it  with  long,  vigorous 
strokes  in  six  or  eight  difl:'erent  positions  against  a  plain  background  of 
spatterwurk,  as  shown  in  Fig.  2,  Plate  7. 

For  your  final  model  for  pen  drawing  you  may  select  fruit,  vegetables, 
china  or  glass  ware,  old  books  and  flowers,  etc.,  and  carry  out  your  pen 
work  somewhat  in  the  manner  shown  in  Fig.  4,  Plate  7,  using  different  kinds 
of  strokes  and  lines  to  indicate  different  objects  and  te.xtures,  and  making 
difterent,  light  or  dark,  plain  or  vignetted  backgrounds  behind  the  objects, 
selecting  the  kind  that  will  give  the  greatest  contrasts  and  set  oft'  the 
objects  in  bold  relief. 


PLATE  7, 


0 


-  ■"     v"-"  '     -■■.•-      -    .I7'"'>*        vi  ■         '14'-     ■■.'"■ 


juiyui 


CHAPTER  SEVEN 


WASH  DRAWINGS. 


ASH  drawing  is  the  generally  used  technical  name  for  painting  in 
lilack  and  white  for  monochrome,  done  with  washes  in  some  trans- 
parent fluid.  It  is  used  very  much,  at  the  jjresent  time,  for  making 
hio-h-trrade  illustrations  t<i  he  rci)r(iduced  bv  the  halftone  iirocess, 
for  card  decorations  and  for  making  sketches  of  buildings,  interior  decorations 
and  originally  designed  theatrical  scenery.  This  process  is,  therefore,  of  great 
value  to  the  student  of  illustrating  and  theatrical  painting,  etc.,  and  we  have 
here  given  the  most  essential  rules  and  directions  for  the  making  of  artistic 
wash  drawings  from  copy,  ol)jects,  and  life. 

The  study  of  wash  drawing  familiarizes  the  \m\n\  with  all  uf  the  tech- 
nical methods  of  water  color  painting  and  is,  in  fact,  water  color  painting 
in  monochrome  (one  color),  and  the  person  who  has  mastered  the  direc- 
tions given  in  this  chapter  will  find  his  acquired  knowledge  and  skill  in 
handling  the  brush  and  li<pHd,  transjxirent  color,  of  the  greatest  help  when 
he  comes  to  make  paintings  for  the  trade,  which  work  rests  on  the  same 
fundamental  principles  as  those  written  down  in  the  following  pages.  Wash 
drawings  are  reproduced  l)y  the  so-called  "halftone"  process  of  photo-en- 
graving, which  in  many  respects  is  similar  t.i  the  process  of  zinc  etching 
which  was  e.\])lained  in  the  jirevious  chapter.  A  screen  crossed  with  tine 
lines  is  placed  in  front  of  the  camera  when  the  negative  is  taken.  This  is 
then  printed  on  a  highly  polished  zinc  or  copper  plate,  which  renders  an 
engraving  of  great  delicacy,  showing  all  the  fine  graduations  and  halftones 
of  the  original  and  having  a  printing  surface  of  small  diamond-shaped 
cubes  that  leave  a  network  all  over  the  print.  To  obtain  a  clear  print  from 
halftones  these  must  be  "made  ready"  by  the  pressman  and  printed  on  hard 
surface  paper  with  a  good  grade  ink. 

The  great   charm   in   ])ainting   in    washes   lies   in   the   beauty    and   truth- 
fulness of  i*.s  aerial  tones  and  great  range  of  delicate  tints.     The  production 


of  this  beautiful  effect  depends  greatly  upon  the  fact  that  the  paper  on 
which  we  [laint,  being  "grannulous,"  that  is,  upon  its  surface  presenting 
many  little  hollows  and  projections  which  receive  transparent  washes  of 
color  and  thereby  maintain  an  alternation  of  light  in  protuberances  and  half 
tones  in  cavities.  Such  1)eing  the  case,  it  is  strictly  imperative  on  the 
scenic  artist  that  he  should  never  lose  or  destroy  the  grain  by  too  much 
work  on  the  same  spot,  for  on  the  spontaneity  of  the  work  will  depend  the 
atmosphere  and  therefore  the  success  of  the  work.  Therefore  work  rapidly 
and  precisely  and  don't  go  over  the  washes  too  often  while  they  are  still 
wet.  In  order  to  obtain  sufficient  freedom  of  the  brush  and  be  able  to  make 
(|uick.  precise  washes,  fill  a  large  brush  well  with  color  and  make  a  suc- 
cession of  full,  large  washes  rapidly  executed  first  in  one,  then  in  different 
cHrections.  Bv  holding  the  brush  at  different  angles  across  the  paper  dift'er- 
ent  outlines  from  a  ragged,  indistinct  to  a  perfectly  sharp  outline  of  the 
washes  are  obtained.  The  hand  should  be  lightly  rested,  in  such  a  manner 
as  to  secure  the  perfect  free  action  of  the  wrist  and  the  fingers  by  which 
the  brushes  are  held.  In  working  over  small  details  the  brush,  after  it  is 
filled  with  color,  should  be  drawn  over  a  piece  of  paper,  especially  provided 
for  this  purpose,  in  order  to  bring  the  hairs  to  a  fine  ]joint.  ^\'hen  laving 
fiat  washes  do  not  overcharge  your  liriish  with  color;  if,  however,  there 
should  be.  through  mismanagement  or  other  cause,  left  a  floating  drop  of 
color,  it  may  be  removed  l)y  absorbing  it  with  the  dry  hairs  of  another 
brush. 

Before  beginning  wash  work  the  paper  shc.add  be  washctl  o\er  or  damp- 
ened with  clean  water,  using  a  soft  sponge.  It  is  advisable  that  the  paper 
be  not  too  wet  or  too  dr\-.  Do  not  try  to  draw  with  ]icncil  or  erase  the 
jiaper   while   it  is  wet. 

Tlie  washing  of  the  surface  assists  the  artist  in  niaking  a  pure  even 
wash  of  color  and  pre\cnts  that  greasy  feeling  and  spotted  appearance  that 
wash  drawings  made  on  unwashed  paper  often  have.  Always  fasten  your 
pa])er  with  thumb  tacks  to  a  small  drawing  board  before  beginning  to  work 
and  see  that  ])a])er  lies  perfectly  !lal  and  e\'en.  Never  begin  ])ainting  until 
drawing  is  absolutely  correct:  then  erase  all  ])encil  marks  with  a  soft 
eraser  until  the_\'  are  only  discernable.  Use  plenty  of  pure,  soft  water 
when  painting.  Use  a  soft  sponge  to  wi])e  or  wash  oft'  all  su]>errtuous 
color  frciUi  ])aper  or  to  take  out  lights  from  dark  tones.  Blotting  ])aper 
is  also  very  useful;  soft  cotton  or  linen  rag  will  serve  the  same  purpose. 
.\  "wash"  is  the  technical  term  for  ordinary  water  tinted  with  color  and 
then  l)y  means  of  a  brush  sjiread  over  the  surface  to  l)e  painted.  I)i])  the 
brush   in  water  and  press  this  out  on   \(iur  palette;  repeat   until  you   have 


Wash  Drawing 


a 


jumi 


Fia.  I. 


'^      ^r 


rja.  m. 


Fiii.  n. 


Fia.  m. 


pja.v. 


V? 


r/a,\i 


FIG.  vs 


eiiDUgh  for  a  wash,  di])  hriish  in  color,  medium  (India  ink  or  se])ia),  and 
mix  it  with  the  water  until  desired  tint  is  olitained. 

After  having  read  this  chapter  throiiijh  several  times  and  thoroughly 
understood  the  directions  g-iven  herein,  you  should  start  some  simple  pre- 
liminary exercises  and  try  different  kinds  of  washes  before  attem])ting  to 
copy   other  artists'   wash   drawings. 

The  tools  and  materials  used  in  wash  drawings  are  few  and  inexpen- 
sive. They  can  be  obtained  at  any  of  the  high-class  art  stores  or  painters' 
siij)]jly  houses,  and  consist  of  the  following  items: 

Water  color  paper  (medium  rough  surface). 

Palette  of  white  china,  ]japier  mache,  celluloid  or  a  white  tile  or  saucer. 

Sable  or  camel  hair  brushes  (different  sizes). 

A  bottle  of  Higgins'  waterproof  drawing  ink. 

A  bottle  of  \\'insor  &  Xewton's  licjuid  sepia. 

Hard  lead  ])encil.  straight-edge,  soft  ])encil  eraser. 

A  bt).ttle  of  Chinese  white. 

Drawing  board,  thumb  tacks,  stale  bread,  etc..  etc. 


PREPARATORY  EXERCISES. 


Fa:ten  a  sheet  <>\  water  culor  pajjer  to  )dur  drawing  board  with  thumb 
tacks.  Dip  your  brush  in  the  wash  and  a])pl\-  the  color  with  a  full  brush, 
working  from  to])  downward.  Keep  the  brush  full  of  the  wash.  Remove 
the  sui)erfluous  color  left  at  the  bottom  of  \iiur  design  by  drying  the  brusii 
on  the  cloth,  by  touching  this  extra  color  with  ynur  dried  brush  it  will  im- 
mediately absorb  all  superfluous  color.  I^et  \'our  wash  stand  for  a  few 
mimitcs  :  it  will  then  be  sufficiently  dry  to  allow  another  wash  to  be  placed 
over  it,  if  so  desired.  There  are  different  kinds  of  washes,  which  we  now 
shall  describe.  There  is.  first  and  easiest,  the  "plain  wash."  Draw  a  dia- 
gram similar  to  Kig.  1.  consisting  of  three  scjtiares  about  2x2  inches  each. 
Place  a  second  wash  over  Nos.  2  and  3.  and  then  a  third  over  Xo.  3.  Re- 
peat these  exercises  several  times,  first  making  each  of  the  washes  very 
lainl.  with  a  great  deal  of  water  in  the  color:  next  time  make  them  of  me- 
dium strength,  and  finally  some  stronger,  so  that  the  last  wash  in  Xo.  3 
a|)pears  almost  black.  This  practice  will  teach  you  tt)  obtain  even,  plain 
washes  and  how   to  get   fine  graduations   from   light   gray   to  nearly   black. 

A  "graded  wash"  (see  Fig.  2)  is  one  that  varies  from  light  to  heavy 
and  from  heavv  to  liHit.     It  is  obtained  as   follows:     Draw  three  rectangu- 


lar  surfaces  as  indicated  in  Fig.  2.  Beg'in  at  A  with  the  full  strength  cif  the 
black  wash,  as  it  comes  out  of  bt)ttle,  with  brush  gradually  add  water  lo 
the  wash  after  each  stroke  until  clear  water  alone  remains  in  the  brush. 
Now  reverse  the  process  at  B,  beginning  at  the  top  with  clear  water, 
gradually  adding  color  to  the  brush  until  a  solid  black  is  ubtainetl  at  the 
lower  end  of  surface. 

In  Fig.  3  is  shown  a  double  graded  wash,  starting  with  solid  black  and 
getting  lighter  and  then  gradually  black  again.  Try  these  exercises  a  great 
many  times  until  vou  are  able  to  make  these  washes  smooth  and  evenly 
graded. 

.Vpplving  a  wash  to  dry  paper  is  called  a  dry  wash  :  applying  it  to  wet 
jjaper,  a  wet  wash.  Dry  washes  are  distinct  and  do  not  run  together;  wet 
washes  are  soft  and  Idurred  at  the  edges.  Both  kinds  of  washes  are  useful 
in  wash  drawings,  according  to  the  diii'erent  textures  that  you  wish  to 
obtain.  Generally  speaking,  wet  washes  are  used  for  skies,  backgrounds, 
large  spaces,  etc.,  and  dry  washes  reserved  for  reti  inching  and  details. 

For  your  ne.xt  lesson  make  a  series  of  brush  strokes  similar  t(i  those 
illustrated  in  Fig.  3.  The  first  lines  are  drawn  in  three  separate  touches. 
The  others  with  one  stroke  of  the  l)rnsh,  increasing  in  width.  Copy  the 
four  wash  drawings.  Figs.  4,  3,  6.  7.  .\11  four  should  lie  painted  in  four 
washes.  First  wash  the  lightest  tint,  second  the  medium  tints  and  shades, 
third  the  shadows,  and  fourth  the  deepest  accents  and  shadows. 


.\fter  haxing  mastered  these  ])reliminar}-  exercises  and  obtained  com- 
plete control  of  the  tools  employed,  with  a  good  knowledge  of  different 
values  of  tints  and  washes,  select  a  series  of  rei)roductions  of  other  artists' 
wash  drawings  and  copy  them  faithfuU}'.  After  the  completion  of  these 
studies  select  some  easy  obj'ects  like  boxes,  ])ottles,  vegetables  and  the  like, 
place  them  in  a  good  light  and  proceed  as  ])rcviously  taught  to  make  good 
and  true  outline  drawings  of  them  on  medium  surfaced  water  ctdor  pa])er. 
N,ext  shade  them  up  in  washes  of  hi'lia  ink,  being  careful  to  get  \iinr  dif- 
ferent washes  clean,  strong  and  brilli;int,  and  do  not  be  satisfied  with  a 
muddy  and  dirty-looking  sketch,  bu(t  keep  on  trying  until  you  have  a  clean, 
bright,  well-rounded  aind  good-modeled  reproduction  of  tlie  object  in  front 
of  vou.  Next  select  some  flowers  and  plants,  grou])  them  nicely  in  glasses, 
vases  or  jardinieres,  and  m.'ike  wash  drawings  of  them.  Complete  a  collec- 
tion of  about  six  different  studies  of  these  objects  ;ind  finally  take  your 
colors  and  other  materi.als  with  _\'ou  and  go  out  of  doors  and  commence  to 
make    wash    drawings    from    nature,    going    always    from    easier    to    harder 

— ^0— 


objects.  Work  for  large  masses  and  distinct  distribution  of  light  and  sliade 
and  do  not  try  to  include  too  much  in  your  pictures,  of  which  some  should 
be  vignetted,  that  is,  having  the  main  objects  strongly  shaded  ;ind  full  of 
details  in  the  middle  of  the  picture  and  then  ha\e  tiiis  gradualK'  tone  out 
to  ])ure  white  against  the  edges,  .\fter  iiaving  made  a  sufficient  number  of 
studies  in  India  ink  you  should  obtain  a  bottle  of  light  brown  fir  sepia  ink, 
and  make  sketches  in  a  similar  manner  in  these  mediums. 


CHAPTER  EIGHT 


OIL  PAINTING  FROM  OBJECTS. 


fj^N  the  previous  chapters,  we  have  only  concerned  ourselves  with 
pictorial  reproductions  of  nature  in  black  and  white,  and  being 
now  in  possession  of  a  fair  knowledge  of  sketching  and  shading, 
we  shall  turn  to  the  more  difiicult  problem  of  depicting  objects  in 
their  natural  colors. 

Of  all  color  mediums,  oil  paints  are  the  easiest  to  use,  as  they  are  more 
or  loss  opaque,  and  will  allow  quite  a  latitude  in  re])ainting  and  correcting" 
errors.  To  make  good  sketches  in  oil  colors  it  will  be  necessary  to  obtain 
the  following  materials,  which  can  be  had  at  all  leading  artists'  supply 
houses : 

One  oil  color  sketch  box,  not  less  than  9x12  inches. 

One  wooden  scjtiare  palette  to  fit  box. 

Two   screw-top   palette   cups. 

One  palette  knife   (4-inch  Ijlade). 

One  sketching  easel. 

Three  red  sable  brushes  Nos.  2,  4,  8. 

One  sable  rigger  No.  3. 

Four  bristle  brushes  (l1at)  Nos.  .^,  7,  12. 

Oil  color  pale  oil.  tur])cntinc.  benzine. 

Thumb  tacks,  canvas  or  acailcniy   bciard. 


A  LIST  OF  USEFUL  OIL  COLORS. 


Flake  White  (large  tube). 

Chrome,  Lemon,  Aledium,  Deep,  Orange  Yellow. 
Chrome  Green,   Light.   Medium,  Dark. 
Antwerp  or  I'russian  lUue. 


Burnt   Sienna. 
Kaw  Sienna. 
Raw  Umber. 
\'an    l)\kc    Brciwn. 


—72— 


Ivorv    Black. 

Aureolin. 

Cadmium. 

Golden  Oclire. 

Permanent  Blue. 

Cobalt  Blue. 

Yellow  Ochre. 

Vermillion. 

Scarlet-Lake. 

Sap  Green. 

Indian   Red. 

Emerald    Green. 

Liqht  Red. 

Prussian  (ireen. 

Mauxe-l'iirplc. 

Zinnahar  Green. 

A  LIST  OF  NECESSARY  COLORS. 


White.  Black,  ^\■lll)\vs,  Reds.  Browns,  Blues,  Purides.  Greens. 

With  the  e.\ce])tiiin  ut  white,  hlnck  and  |)uri)le,  two  or  three  shades  of 
each  of  the  other  colors  will  he  fonnd  very  convenient  in  most  cases.  If 
you  desire  to  prepare  \our  own  sketching"  canvas,  then  obtain  a  s^ood  (|ual- 
itv  of  six  or  eight  ounce  duck  or  drilling  canvas;  stretch  this  on  a  frame 
and  give  it  two  or  three  coats  of  white  lead  mixed  in  oil  and  diluted  with 
sufficient  turjientine  sn  that  it  makes  a  ])erlect  Hat  siu'face  without  a  shine 
when  coated  on  canvas.  When  dry.  this  prepared  canvas  can  be  ruljbed 
slightly  -with  sand  paper  so  as  to  take  all  superflut)us  roughness  off,  and 
then   cut    into   convenient   sizes. 


PAINTING  IN  OIL. 


The  foremost  masters  of  scenic  jiaintnig  li.ixc  held  the  opinion  that  the 
.Tjreatest  difliculty  in  the  art  is  to  learn  to  see.  Be  this  as  it  may.  it  is  ob- 
vious that  we  cannot  hope  to  represent  the  appearance  of  anything  with 
exactness  that  we  are  not  able  to  see  correctly.  Further,  it  will  be  readily 
understood  that  l)efore  we  can  analyze  the  complex  appearance  of  land- 
scajies,  the  ever-changing  color  of  the  mnbile  sea  or  the  subtle  forms  and 
tints  of  the  human  figure,  we  should  be  able  to  realize  the  appearance  of  a 
simple  object.  Now  that  we  have  considered  the  best  way  of  learning  to 
see  correctly  and  are  acquainted  in  some  measure  with  the  nature  of  our 
materials,  v,-e  will  set  alxnil  our  lirst  attemjjt  .-it  i)ainting. 


Before  attempting-  ])aintinr;-  in  oil  of  objects  you  should  procure  some 
g-Qod  studies  in  colors  and  copy  these  faithfully.  It  is  obvitius  that  before 
we  can  paint  a  difficult  subject  we  must  begin  by  mastering  the  simple  ones. 
We  will,  therefore,  tr\   to  paint  an  egg',  placed  upon  a  piece  of  white  pajier. 

Place  a  sheet  of  white  paper  liehind  the  egg'  and  be  careful  that  the 
light  (inly  strikes  it  fmni  one  directiim  (preferably,  fmni  the  ujiper  left 
hand  curner).  In  a  i)revious  chajjter  we  told  you  all  about  the  lights  and 
shades  on  simple  subjects  and  gave  you  the  technical  name  of  the  differ- 
ent tints.  We  shall  use  the  same  terms  in  this  lesson.  Fasten  a  i)iece  of 
sketcliing'  canvas  9x12  inches  on  your  drawing  board,  jnit  this  on  your  easel 
at  a  convenient  height,  sit  or  stand  in  front  of  it  and  sketch  the  out'lines 
of  egg  with  charcoal  on  your  canvas:  rub  jiartly  out,  correct  and  redraw 
with  a  hard  lead  pencil.  We  shall  use  raw  umber  and  flake  white  to  give 
all  the  graduations  of  tints  from  deepest  shadows  to  highest  lights,  as 
foimd  in  the  subject  liefore  us. 

First  mix  sufficient  umber  on  the  palette,  using  either  a  large  flat  l)ris- 
tle  brush  or  the  palette  knife,  with  a  little  white  until  it  has  a  darkness 
that  appears  the  exact  value  or  tint  of  the  deepest  shadow  under  and  to  the 
right  of  tlie  egg. 

Fill  a  flat  iiristle  brush  with  plenty  of  color  and  lay  it  on  the  canvas 
the  correct  tint  of  the  shadow.  Tlien  mix  a  tint  .a  trifle  lighter  for  the  deep- 
est shade  on  the  egg  and  lay  this  on  in  ;i  similar  manner,  ahv.ays  using 
plenty  of  color.  From  the  deej)  sh.ade  jiroceeil  to  the  h;df  shades.  l;iy  this 
on  this  time  using  some  more  white  in  colors,  then  go  to  the  halt  tone,  using 
still  more  white,  and  hnallv  p;iint  the  highlights  with  pure  white  :  then  fnid 
a  tint  of  uniber  and  white  that  matches  the  value  of  )-our  background  and 
another  that  matches  the  white  paper  your  egg  rests  on  .and  paint  the  rest 
of  your  canvas  over  with  these  tints,  rememliering  that  none  of  them  must 
be  pure  white,  but  should  be  subdued  to  the  brilliancy  of  the  highlight  on 
the  egg.  The  tints  should  now  be  rubbed  into  e.acli  other  with  .-i  clean 
brush. 

Outline  of  egg  should  remain  (|uite  sharp  .and  be  ,i  true  egg-shaped 
oval.  Tints  on  egg  from  highlights  to  deepest  sha<le  should  be  soft  and 
so  modidated  that  thev  scarcely  show  where  they  blend  into  I'ach  other. 
Outlines  of  shadcnv  on  talile  should  also  be  soft,  .\fter  having  obtained  a 
nice  ])leasing  effect  in  \iiur  painting,  remove  canvas  from  board,  set  awa_\' 
to  dry  and  then  use  two  eggs  for  models  jjlaced  side  by  side  in  a  similar 
way  as  before,  but  in  a  difTerent  light,  and  ])roceed  to  make  an  oil  sketch  as 
before.     For  a  third  painting  use  a  group  of  four  eggs  for  models.     For  our 


next  miidel  let  us  take  an  iirdinary  green  apple  or  a  green  ciu-unihcr,  pear 
or  tomato;  place  it  on  a  white  sheet  with  a  white  background  ])ehind  it  as 
when  we  painted  the  egg.  First  make  a  careful  drawing  of  the  fruit,  tiien 
study  its  coloring  carefull}'  liefore  setting  the  colors  on  the  ])alette.  For  a 
green  fruit  such  as  menti(ined  above  you  will  need  the  following  colors: 
Flake  white,  chrome  yellow,  ochre,  burnt  sienna,  liurnt  unil)cr,  permanent 
or  cobalt  blue.  Antwer])  or  Prussian  blue,  emerald  green. 

First  mix  your  paint  for  the  dark  shadows  that  the  fruit  throws  on 
table :  notice  that  this  is  darkest  near  tlie  oliject  and  softer  and  lighter 
farther  awa\-.  You  will  need  l)urnt  umber,  emerald  green  and  yellow 
ochre  for  the  shadow  and  you  will  use  them  in  a  smaller  or  larger  (|uantity 
in  all  of  the  other  colors.  For  the  deepest  shade  on  the  fruit,  about  the 
shade  of  the  shadow  should  be  used,  only  lighter  and  a  trifle  greener. 

For  the  halftone,  Antwerp  blue  mixed  with  chrome  yellow  and  modified 
with  flake  white  will  form  a  nice  green,  which  should  have  a  trifle  of  yellow 
ochre  added  nearest  the  highlights. 

The  highlights  can  be  painted  with  flake  white  tinted  around  the  edges 
with  a  little  blue.  The  background  and  table  can  be  painted  witli  a  tint  of 
mixed  burnt  umber,  _\ellow  ochre  and  flake  white.  Finally  blend  the  tints 
into  each  other  where  this  is  needed  and  do  not  have  the  outlines  of  apple 
too  sharp.  For  your  next  study  select  two  green  fruits  as  models  and  after 
having  completed  an  oil  sketch  from  them,  take  two  yellow  fruits,  such  as 
lemons,  oranges,  bananas,  grape  fruit,  yellow  plums  and  so  forth.  an<l  make 
several  studies  from  these  models,  using  now  a  dark  brown  covering  on 
table  and  hung  behind  fruit  for  background.  The  nappy  side  of  different 
colored  cotton  fl:innel  makes  pretty  good  material  for  monochrome  back- 
grounils. 

Your  next  jjrtiblem  will  Ik-  to  make  oil  sketches  from  objects  with 
smooth,  shinv  surfaces,  such  as  bottles,  glasses,  chin.a,  brass  and  silverware. 
For  your  llrst  model  of  this  kind  select  a  plain  bottle.  If  you  choose  a 
green  one  vou  can  put  same  color  on  \()ur  ])alette  as  used  when  painting 
green  fruits,  but  you  must  look  at  bottle  and  notice  that  highlights  are  real 
reflections  of  source  of  light  in  your  room,  be  this  a  window  or  lamp.  To 
paint  this  you  will  need  additional  colors  as  the  occasion  may  demand.  Also 
note  that  highlights  are  a  great  deal  stronger  and  more  marked  than  on 
fruit  and  that  shaded  side  is  broken  up  with  a  whole  lot  of  vari-colored  re- 
flections. This  will  make  the  painting  of  objects  harder  than  those  we  have 
just  mastered,  but  if  you  try  hard  and  often  enough  you  will,  at  last,  be  able 
to  make  satisfactory  sketches  of  these  kind  of  objects. 


LANDSCAPE  SCENERY  PAINTED  IN  OIL  COLORS. 


The  sketching"  in  oil  colors  from  objects  and  still  life  should  have  given 
you  sufficient  practice  in  handling  the  new  medium  so  that  vou  now  can 
take  your  sketching  outfit  out  of  doors  and  make  creditalde  studies  from 
nature  in  the  open. 

Before  starting  on  your  first  sketch  read  this  over  time  and  again  until 
you  almost  know  the  words  by  heart,  and  are  absolutely  sure  that  vou  have 
fully  understood  all  of  the  hints  and  directions  given  herein.  Then,  when 
you  finally  do  go  out,  leave  your  sketching  outfit  home  the  first  time.  This 
may  sound  like  a  paradox,  but  it  is  nevertheless  good  advice.  Just  go  out 
with  the  intention  of  selecting"  the  view  or  views  you  intend  t(;i  paint.  This 
sounds  so  very  easy,  but  it  is  not  always  so,  especially  for  the  beginner, 
who  knows  very  little  about  composition  and  just  what  kind  of  views  will 
make  pleasing  pictures  easy  to  paint.  On  this  hunting  expedition  for  paint- 
able  scenes  it  would  be  a  good  idea  to  have  a  cardboard  about  10x12  inches 
with  a  square  opening  about  6x8  inches  cut  out.  When  selecting"  a  view 
hold  cardboard  up  in  fr(.)nt  of  you  and  raise  it  up  and  down  and  shift  it 
from  right  to  left  until  }ou  ha\e  obtained  the  best  view  of  the  scene  before 
you.  You  can  at  the  same  time  get  somewhat  of  an  idea  of  how  the  scene 
will  look  when  properly  painted  by  studying  the  Ijits  of  landscape  seen 
through  the  cut-out. 

Select  a  plain  scene  with  a  few  details  hut  with  a  large  mass  for  your 
first  attempt  at  sketching  from  nature.  There  are  four  things  necessary  to 
the  making  of  a  good  outdoor  sketch:  COMPOSITION,  \'.\I.UE,  COLOR 
and  DRAWING.  The  composition  of  a  picture  is  its  design  or  arrangement. 
Here  are  a  few  rules  as  to  correct  composition:  "Do  not  place  }-our  sky 
line  in  the  middle  of  the  picture.  Let  it  be  either  above  or  below.  Do  not 
place  your  princijial  objects  directly  in  the  middle  ot  the  picture  nor  againsi 
the  edge.  Do  not  crowd  your  canv;is.  Omit  every  detail  th;it  does  not  add 
to  the  interest  of  your  study.  With  these  ideas  in  mind,  draw"  in  your 
subjects  with  as  few  lines  as  possible.  Omit  details  and  let  y(jur  lines  indi- 
cate the  edges  of  masses  of  color,  sky,  earth,  etc.  Look  well  to  \"our  \>ra- 
portions  and  remember  that  objects  in  t!ic  distance  are  small  compared  with 
those  in  the  foreground. 

In  thus  carefullv  stud\ing  your  suliject  you  must  have  noticed  certain 
contrasts  of  light  and  dark  masses.  These  are  the  \ahies  of  the  picture  :ind 
are  as  imjHirtant  as  is  its  composition.     You   will   find  the   sky   {<<   ha\e   the 


lightest  value,  the  ground  the  next  lightest  and  the  trees  and  upright  objects 
the  third  lightest  and  the  shadows  in  the  foreground  the  darkest  value. 

The  careful  noting  of  the  values  in  your  picture  suggests  tiie  colors 
that  }-ou  must  use.  Qioose  light,  bright  colors  for  the  sky,  warmer,  richer 
tones  for  the  foreground  and  cooler  colors  for  the  distance.  By  cool  tones 
are  lueant  those  mixed  with  lilues  or  grays;  by  warm  tones  those  mixed 
with  red  and  yellow.  A  clear  sky  has  three  bands  or  zones  of  color  that 
are  softly  blended  into  each  other.  Violet  in  some  of  its  varied  tones  near 
the  horizon,  above  that  green,  and  above  that  again  l)lue.  The  clouds  near 
the  horizon  are  yellowish  or  pirTkish  and  grow  whiter  as  they  ascend  higher 
towar(!s  the  zenith,  but  should  never  be  ])ainted  ])ure  white,  which  makes 
them  cold  and  chalky. 

Load  your  brush  with  plenty  of  color  when  painting  clouds  and  put 
them  on  the  canvas  loosely  and  flufty.  with  soft  and  ragged  edges.  Let  us 
look  at  the  trees  for  a  moment.  Commonly  speaking,  they  are  called  green, 
but  green  is  always  modified  with  some  other  color,  never  black;  if  a  deep 
shadow  appears  solid  black  t<i  your  untrained  eye,  hold  up  a  small  piece 
of  l)lack  velvet,  tacked  In  a  stick  or  board,  against  the  shadow  that  appears 
black  to  vou  and  you  will  now  observe  that  it  is  several  graduations  lighter 
than  the  dead  black  velvet,  ^'onr  can\as  must  be  a  record  of  what  you  saw 
at  the  given  lime;  paint  what  you  see.  striving  ever  to  see  more  and  better. 
Paint  loosely  with  lots  of  color  in  the  brush,  avoid  all  hard  edges,  paint 
(|uickly.  omit  all  small  details  and  paint  in  masses.  Do  not  ])aint  too  dark. 
Remember  that  everything  out  of  doors  is  light.  Do  not  have  your  study 
too  chalkv  and  ])ale.  have  it  full  of  brilliaiU.  harmonious  coUirs.  Do  not 
use  thinners  nnich  in  vour  colors,  use  them  as  they  come  out  of  the  tubes 
and  mix  your  tints  well  on  the  palette  before  you  init  them  on  the  canvas. 
Compare  them  with  the  colors  in  nature  that  you  are  trying  to  imitate  and 
be  sure  th;il  vou  are  right  in  tone  and  value  before  painting  them  in  place. 
Use  sketching  canvas  of  rather  rough  texture  for  outdoor  sketching  in  oil. 


A  FEW  WORDS  ABOUT  YOUR  COLORS. 


Primary  colors  are  such  that  cannot  be  made  by  mixing  two  or  more 
colors  together.     They  arc  red.  Idue  and  yellow. 

The  colors  oljtained  from  mixing  an\  two  of  the  ]>riniary  colors  are 
called  secondary  colors.  They  are  purple,  green  and  orange.  Red  and  blue 
give  ])uri)le  :  l)lue  and  \  ellow  give  green  :  red  and  yelhnv  give  orange. 


By  mixing  any  o-f  the  secondary  colors  together  we  obtain  what  are 
called  the  tertiary  colors.  They  are  citrine,  olive,  orange  and  rnsset.  Orange 
and  green  give  citrine  ;  green  and  purple  give  olive  ;  orange  and  purple  give 
russet.  By  adding  white  to  any  of  the  colors  you  can  obtain  a  tint  of  that 
color:  by  adding  a  mixture  of  the  three  primary  colors  you  can  obtain  a 
shade  of  the   color. 

The  most  useful  colors  in  landscajie  painting  are  lemon,  chrome,  golden 
ochre,  cadium,  vermillion,  \'enetian  red,  Indian  red,  crinisun  lake,  rose  mad- 
der, burnt  sienna,  burnt  umber,  \'an  Dyke  brown.  I'russian  blue,  cobalt  blue. 
permanent  blue,  emerald  green,  purple  lake  mauve. 

]*"or  your  lirst  attempt  at  painting  from  nature  select  a  plain  view  of 
sky  and  earth,  fur  instance,  a  sweep  of  prairie  or  a  naked  hill  against  the 
horizon;  paint  in  large,  bold  masses.  Make  three  sketches  of  this  scene, 
one  on  a  cloudy  day,  one  late  in  the  afternoon  on  a  simny  day  and  one  at 
sunset  time.     W'ork  <|uickly  and  loosely. 

For  your  next  sketch  select  a  view  with  large  masses  of  trees  in  the 
middle  distance  and  a  plain  foreground  ;  make  three  sketches  of  this  study 
as   indicated   above. 

For  your  next  ])r(jblem  select  a  scene  with  one  or  more  larger  trees  in 
the  foreground,  paint  in  masses,  obtaining  the  correct  form  and  color  but 
omitting  small  details.  Paint  three  different  sketches  of  this  study  as  before. 
Finally  select  a  view  including  houses,  water  or  rocks  and  with  interesting 
objects  in  the  foregrijund. 


PAINTING  IN  OIL  OF  INTERIORS. 


The  |)ainting  in  oil  colors  of  interiors  should  not  jirove  to  be  so  ver\' 
difiicult  to  the  scenic  artist  who  already  knows  how  to  m;ikc  good  and 
artistic  sketches  in  oil  inmi  (jbjects  ami  nature.  \'ou  must  rcnicnd)er,  how- 
ever, that  out  of  doors  it  was  all  air,  light,  sinishine  and  bright  and  brilliant 
colors,  while  interiors  are  often  dark  and  dim  and  the  objects  have  some  of 
the  i)lains  brilli.intly  illuminated  and  others  submerged  and  li.ilf  bidden  in 
shadows  that  always,  no  matter  how  deep  and  dark,  >hould  be  painted  trans- 
])arent  and  not   look  like  solid  blackness. 

.Ml  objects  in  an  interior  are  also  at  a  great  deal  closer  range  than  in  a 
landscaije  and  it  ijeconies,  sometimes,  difficult  to  a  beginner  to  observe  the 
color  changes  that  even  the  shortest  distance  lends  to  all  objects,  and  many 


a  pcrsim  that  cuuU  ynunt  sketchy  and  loosely  when  ijaintini;  a  landscajje, 
have  executed  interior  paintings  that  were  liard  of  outline  and  devoid  of 
atmosphere.  Before  starting  to  paint  interiors  from  nature  obtain  tnur  or 
six  color  prints  or  studies  of  interiors  and  cojjy  these   faithfully   first. 

The  preliminary  drawing  for  an  interior  sketch  must  be  absolutely 
correct  and  all  objects  given  in  their  exact  proportions  and  right  fore- 
shortening and  linear  perspective.  No  amount  of  clever  ]iainting  will  hide 
a  faulty  drawing  in  an  interior,  so  therefore  take  lots  of  patience  and  care 
ijl  obtaining  an  absolutely  correct  drawing  of  the  room  that  you  intend  to 
paint  iiefore  you  start  to  lay  on  your  colors.  The  source  of  light  should 
be  considered  well  and  if  there  are  windows  on  both  sides  of  the  room  antl 
illumination  is  very  spotted  and  uneven,  it  may  be  a  good  scheme  to 
darken  the  windows  on  the  side  away  from  the  sun.  If  direct  sunlight 
falls  in  the  room  it  heightens  the  illumination  a  great  deal  and  makes  the 
study  a  good  deal  more  attractive  and  ])kturesque,  but  it  also  makes  it  a 
great  deal  harder  to  jjaint  and  the  beginner  had  l)etter  content  himself 
with  a  soft,  diffused  light  coming  from  either  right  ipr  left  side.  The  cor- 
rect color  jjerspective  is  very  impcjrtant  in  a  good  interior  sketch,  but  a 
great  deal  harder  to  observe  than  in  the  cipen   with  its  long  distances. 

Observe  that  the  farther  the  object  in  the  room  is  from  your  eye  the 
more  subdued  the  coloring  is  and  in  rendering  of  such  objects  you  should 
use  more  white  in  v..ur  tints  and  ji.-iint  Incjsely  with  soft  outlines  and  not 
too  many  details,  while  the  nearer  the  objects  are  to  you  the  stronger  the 
coloring  and  the  high  lights  should  be  imjjasted  with  a  great  deal  of  color 
in  your  brush  and  have  sharp,  well-defined  outlines  in  the  lights,  while 
the  shaded  ])arts  should  be  painted  with  less  vigor  and  with  softer  out- 
lines. .\ncitlier  imi)nrtant  thing  to  observe  in  intericir  ]iainting  is  the  dif- 
ferent texture  that  the  objects  have.  Vou  should  try  i<>  imitate  this  tex- 
ture with  the  different  strokes  of  your  brush,  so  that,  for  instance,  a  fur 
rug  looks  hairy  and  fuzzy,  and  the  tnp  of  a  mahogany  tai)le  looks  slick 
and  shinv,  and  so  on.  U<i  not  i)Ut  in  too  many  minute  details  in  your 
sketch.  Content  yourself  with  bmad,  heavy  masses  that  give  the  most 
artistic  appearance.  <  M'  course,  there  should  he  more  details  in  the  near 
foreground,  less  in  the  middle  distance  and  least  in  the  far  distance,  ."^tart 
your  interior  ])ainting  with  something  very  sim])le  and  plain  for  your  first 
model,  for  instance,  a  wash  stand.  l)ureau  or  simple  table  standing  against 
a  plain  w.ill.  with  possibly  a  simi)le  mirror  or  black  and  white  ])icture  hung 
over  it. 

Be  very  careful  with  your  [ireparatory  outline  sketch,  being  abst)hitely 
sure  that   it   is  correct  in  proportions   and   perspective  before  you   start   to 


paint  ;  then  commence  tu  Ijlock  in  your  painting",  avoiding  all  details,  before 
ap])lving  them  on  }our  canvas  so  as  to  be  sure  that  the}'  correspond  exactly 
with  those  of  the  scene  before  you.  Have  some  turpentine  when  changing 
colors,  cleaning  the  surplus  color  off  on  a  small  rag,  and  in  another  cup 
some  that  must  be  kept  perfectly  clean  to  thin  }our  colors  with  when  this 
is  required.  Make  it  a  rule  to  have  }-our  ccilors  a  little  thiinier  and  cooler 
in  the  shades  and  the  background  but  thicker  and  warmer  in  the  lights 
and  the  foreground.  Mix  first  a  general  tint  for  the  wall,  mix  some  of  this 
tint  with  white  for  lighter  places  on  the  wall  and  some  with  \'an  Dyke 
brown,  dark  blue  or  burnt  unil)er.  all  according  to  the  local  color  of  the 
wall,  for  the  darker  part  of  same. 

\\  hen  laying  on  the  color  of  the  wall  use  a  vigorous  stroke,  running 
the  brush  in  dilierent  directions,  in  order  to  l)reak  up  the  surface  well,  but 
be  sttre  not  to  get  much,  if  any,  of  the  liackground  color  smeared  in  over 
and  covering  the  outlines  of  your  objects.  When  the  wall  is  finished  nicely 
stand  back  and  compare  your  painted  wall  with  the  real  one  and  see  if 
it  does  not  need  strengthening  in  the  shades  or  lightening  of  the  light  places, 
or  vice  versa.  Then  start  the  painting  (jf  the  furniture.  Mix  first  the 
general  tint  of  the  woodwork  and  also  a  darker  one  for  the  shaded  places 
and  a  lighter  one  for  the  planes  that  the  light  strikes.  Paint  in  boldly 
and  vigorotisly,  defining  your  lights  and  shades  strongly.  Next  paint  the 
floor  that  better  be  bare  in  first  sketch.  Be  sure  that  i)oards  in  flu.  )r  lie 
b.ack  in  correct  linear  perspective.  Set  your  sketch  away  for  a  day  or  so 
and  when  first  painting  is  perfectly  dry.  rub  over  the  surface  with  a 
little  i)alc  linseed  cjil  and  start  to  ])Ut  in  the  high  lights  and  all  fine  and 
sharp  details,  loading  your  brush  well  with  color.  A  small  bristle  brush 
or  a  pointed  camel's  hair  brush  for  tlic  finest  details  slinuld  be  used  for 
this  work,  but  do  n^t  lill  the  whole  picture  with  details  tliat  will  give  your 
sketch  an  amateurish  salt  and  pejjper  look:  only  \>u{  \ery  strongest  high 
lights  and  the  most  jirominent  details  in  finishing  the  sketcli.  If  first 
sketch  when  coiupleted  does  not  satisfy  you,  make  another.  ])r(jfiting  by 
the  ex])erience  gained  in  m.aking  the  first.  Do  not  stop  until  you  have  as 
perfect  a  sketch  as  you  possil)ly  can  make  at  the  ])resent  stage  of  your 
art  education.  This  is  one  of  the  secrets  of  sticcessful  art  work,  to  develop 
your  artistic  conscience,  so  to  say,  until  it  does  not  allow  you  to  leave 
anvthing  and  call  it  finished  before  xou  ;ire  perfectly  sure  that  you  cannot 
improve  the  work  in  hand  any  more,  'fhis  means  to  make  the  best  pre- 
paratory outline  sketch  yott  can,  to  paint  in  colors  truest  to  nature  and  to 
get  your  values  and  textures  as  correct  as  jjossible. 


For  your  next  study  place  a  few  more  pieces  of  furniture  in  the  room 
and  include  perhaps  a  door  or  a  corner  of  the  rnoni  in  )ciur  sketcli.  Try  to 
paint  this  sketch  in  the  the  two  different  illnniinations,  for  instance,  on  a 
gray  day  and  nn  a  bright  one  with  the  sunlight  streaming  in  through  tiie 
winddw.  and   imte  the  difference   in   the  culur  effects. 

l'"or  your  next  model  select  a  more  i)retentit)us  an<l  richer  furnished 
room,  including  this  time  a  window  in  the  sketch,  .and  note  carefully  the 
l)rilli;inc\-  of  the  out-door  scene  seen  through  the  window  and  the  coiu- 
])arative  darkness  of  all  objects  in  the  room  seen  against  tlu-  source  of  light. 

For  the  ne.xt  sketch  select  a  reception  hall,  showing  a  stairway,  as  a 
model.  If  you  cannot  ohtain  these  motifs  for  sketches  in  _\'our  own  house, 
don't  use  that  as  an  e.xcuse  for  not  making  them,  hut  visit  your  friends'  and 
acquaintances'  houses  until  you  find  the  correct   model   for  your  .■studies. 

When  ready  to  paint  your  fifth  sketch  ohtain  iiermission  to  sketch  the 
interior  of  some  large  hall,  church  or  theater  in  \ciur  town.  Make  in  all 
three  or  four  sketches  of  large  rooms.  This  work  will  he  nmre  difficult 
than  anything  you  have  yet  attempted,  hiU  it  will  jiay  sou  well  to  execute 
it  with  the  greatest  care  possilile,  a--  a  very  good  knowledge  of  form  and 
value  can  l)e  obtained  from  the  study  and  careful  execution  of  these  prob- 
lems, and  bv  the  contiiuied  ])ractice  and  close  observation  \  on  will  greatly 
educate  your  eye  and  h.and  and  |)rep;ire  Nour-^elf  well  to  the  f.ar  harder  task 
of  painting  good  pictures  in  water  colors,  which  ;ire  not  nearly  as  easy  to 
handle  as  the  more  or  less  opacpie  oil  colors. 


CHAPTER  NINE 


WATER  COLOR  PAINTING  FROM  OBJECTS. 


FTENTIMES  the  scenic  artist  receives  a  sample  order  for  water 
color  sketches  of  scenery,  and  we  have  therefore  included  a  short 
treatise  of  this  particular  kind  of  work.  It  is  more  difficult  to  paint 
good  sketches  in  transparent  water  colors  than  it  is  using  opacjue 
oil  colors  as  a  medium,  as  the  latter  will  stand  more  working  and  correcting 
than  water  color.  We  must  therefore  caution  you  to  pay  close  attention  to  the 
rules  and  directions  given  here  and  do  the  work  neatly  and  carefully  when 
you  come  to  put  same  into  practice,  and  dn  nut  forget  that  knowledge  is 
a  grand  element  of  decision  in  all  things  and  no  less  so  in  scene  painting 
and  we  should  neglect  no  means  placed  at  our  disposal  of  attaining  that 
element. 

The  great  charm  of  water  color  painting  lies  in  the  beauty  and  truth- 
fulness of  its  aeri.il  tones  and  the  greater  or  lesser  transparency  and  bril- 
liancy of  the  pigments.  The  implements  and  materials  used  in  water  color 
])ainting  are  few  and  simple.  They  are :  A  few  china  tiles,  saucers  or 
palettes,  a  piece  of  soft  sponge,  an  eraser  or  an  old  handkerchief  (silk)  and 
a  piece  of  chamois  skin,  a  ])enknife,  a  drawing  board,  pajier,  brushes  and 
colors. 

The  p.aper  should  be  a  good  grade  medium  rcjiigli  sm'l'ace  (  \\'h;itm;in's 
water  color  ]irelerred):  they  can  be  had  at  ,iny  lirst-class  art  store  or 
painters'  supplv  house.  The  brushes  are  red  sai)le.  sm.ill  ,ind  well  jiointed 
for  detail  work,  medium  large  for  masses,  and  one  or  twci  large  Hat  brushes 
for  working  skies  or  dampening  the  paper  when  this  is  found  necessary. 
The  flat  brush  can  be  camel  hair;  a  flat  Ijristle  lirush  can  also  be  used  to 
advantage  where  a  strong  iieavy  tint  is  desired.  The  best  colors  to  use 
for  water  color  ])ainting  are  moist  colors  in  half  ])ans.  A  splendid  kind 
of  these  are  manufactured  by  Winsor  &  Newton  and  can  be  h;id  at  all 
leading  dealers  in  artists'  materials.  Below  we  ha\e  named  some  of  the 
most  usefid  and  inexpensive  water  colors  t(j  be  used:     .\ntwcrp  or  Prussian 


blue,  chrome  oran<je,  vermillion,  burnt  umber.  Indian  red,  cadiuni,  vcllovv 
medium,  light  red,  mauve,  emerald  green,  light  red,  chrome  yellow,  indigo, 
raw  unil)er,  sap  green,  Naples  yellow,  raw  sienna,  rose  lake,  jjermanent  blue 
or  cobalt  l)hR'.  i'russian  green,  liurnt  sienna,  jiernianent  blue,  \"an  Dyke 
brown.  Alizarin  crimson,  yellow  ochre,  gamboge,  one  tube  or  bottle  Chinese 
white. 

Always  use  the  face  side  of  your  waiter  color  paper  to  paint  on.  \nu 
can  rind  this  by  holding  your  paper  uj)  between  the  light  and  the  eye:  if  the 
water  mark  can  be  read  from  left  to  riglit,  you  have  got  the  face  side  of 
the  pajx-r  toward  you:  if  not.  turn  the  p.iper  around  ;ind  work  on  the  other 
side.  If  you  work  large  sketches,  it  is  better  to  damiien  your  paper  first, 
as  it  otherwise  may  "cockle"  uj)  for  you  and  I)e  trcniblesome.  Small  partial 
lights  can  be  scratched  out  with  a  in-nkiiife  or  eraser  or  by  slightly  wetting 
the  space  witli  ;i  brush  charged  with  clear  water;  when  the  spot  is  nearlv 
dry  rub  smartly  with  a  silk  handkerchief  drawn  tightly  over  the  finger. 
India  rubber  can  also  be  used  for  this  pur]jose.  Chinese  white  is  verv  ttseful 
tor  small  lights  in  the  foregrcjund.  These  lights  mav  be  laid  on  in  the  de- 
sired forms  with  solid  white,  which  when  perfectly  dr_\  m;iy  be  tinted  or 
flashed  over  with  the  color  required  to  produce  the  intended  effect.  Wher- 
ever opaque  tints  and  details  are  required  the-e  can  l)e  ol)tained  by  mixing 
liquid  Chinese  white  with  the  re(|uired  tiiU.  but  this  methcxl  should  be  em- 
ployed only  in  foreground  of  picture.  When  painting  in  water  colors  the 
hand  may  be  lightl_\'  rested,  luit  it  must  be  in  such  a  manner  so  as  to  secure 
perfectly  free  action  of  the  wrist  and  lingers  l)y  which  tlie  Ijrush  is  held. 
In  laying  on  the  tints  be  careful  to  l)egin  by  laying  them  on  boldly  and  at 
once  close  to  the  outline  and  do  not  be  repeatedly  touching  by  dragging  the 
brush  timidly  o\er  the  ]i;iper  b;ick\\ard  and  forward;  the  effecti\e  handling 
of  the  brush  recpures  speed,  especiall}'  in  working  some  kind  of  foliage  and 
in  covering  large  spaces  with  flat,  e\en  masses  of  color. 

Vou  should  pr.actice  a  great  deal  on  making  (|uick  and  even  washes  be- 
fore beginning  on  the  regular  ])roblems  given  below.  .\lso  practice  .grad- 
uated washes,  starting  with  the  solid  color,  as  it  comes  out  of  the  tube 
or  pan,  .ind  grading  it  nicely  with  more  water  than  color  till  the  faintest 
tint  of  the  original  colcjr  is  obtained.  It  is  to  be  observed  tiiat  as  a  general 
rule  the  brush  should  be  tolerably  full  of  ccdor  in  order  that  it  may  flow 
freely,  for  upon  this  the  cleanness  of  the  work  depends.  Always  be  sure 
to  have  a  c<jrrectly  and  lightly  drawn  pencil  outline  sketch  of  your  subject 
before  }ciU  atteni])t  to  color  it.  Crumbs  of  stale  bread  or  a  very  soft  sponge 
rul)ber  or  art  gum  can  be  used  to  efface  the  iiencil  lines  if  these  should 
siiow  after  the  color  work   has  been  completed.      Tiie   great   enil   to  aim   at 


in  all  water  ccilor  wurk  is  the  preservation  of  the  clearness  and  hrilliancv 
of  the  tints  and  to  avoid  too  nian\  corrections.  \nn  must  not  ex])ect  to 
always  obtain  the  desired  effect  in  the  first  wash,  hut  often  will  have  to 
wash  over  several  times  and  in  many  cases  with  a  different  color  each  time 
before  you  obtain  the  desired  shade  and  effect,  only  be  sure  that  vou  wait 
between  each  wash  imtil  the  former  is  dry.  Be  sure  to  have  vour  light 
bright  enough.  They  are  easily  subdued  if  too  bright,  but  you  cannot  get 
brightness  out  of  dullness.  ,\fter  having  practiced  large  even  washes  and 
graduated  tints  for  some  time,  you  should  make  yourself  a  color  chart. 
Select  a  large  sheet  of  c<ilor  ]iaper  and  lay  it  out  in  a  great  nian\'  small 
s(|uares.  Down  in  the  middle  s(|uare  paint  each  of  \our  colors,  as  thev  come 
out  of  your  tubes  or  pans;  name  or  number  these  colors,  corresponding 
with  their  printed  names.  In  the  s(|uares  to  the  right  of  your  first  color 
mix  that  color  with  each  of  the  others  that  you  have  and  in  same  order 
as  you  have  ])ainted  them  down  \(iur  middle  scpiares,  ])utting  each  tint  into 
a  separate  sc|uare.  In  the  sc|uare  to  the  left  of  your  first  color  mix  light 
tints  of  that  color  and  tints  of  all  the  rest  of  the  colors  }ou  have  di->wn  the 
middle  square,  and  repeat  the  same  process  until  you  have  a  coml)ination  of 
S(.ili(!  Colors  and  tints  of  all  of  the  colors  that  you  have  in  your  color  box. 
Such  a  color  chart,  it  correctly  carried  out,  will  be  of  greatest  help  to  you 
to  find  the  tint  that  you  need  in  order  to  reproduce  a  certain  color  in  your 
future  work  from  nature,  .\fter  having  ])racticed  large  washes  and  made 
your  color  card,  you  should  be  obtaining  color  reproductions  of  some  easy 
water  color  studs'  (flower  or  lan<lscape  preferred),  and  try  to  cop_\'  them  as 
faithfully  as  you  are  able  to.  Ke])eat  this  practice  several  times,  selecting 
each  time  a  more  difficult  study  to  c-opy.  and  be  sure  that  your  studies  are 
artistic  and  in  gocxl  harmony,  otherwise  you  will  prolit  but  little  by  copying 
them. 

Having  now  actpiired  some  knowledge  of  techni(|ue  of  water  color 
jiainting,  we  will  |)r(iceed  to  paint  Ironi  model.  I'or  \ciur  lir>t  subject  select 
an  egg.  IMace  it  in  a  strong  light  on  ,i  light  green  or  l)rown  piece  of  cloth 
large  enough  to  be  dr.-iwn  u])  behind  it  and  t;ukeil  to  a  box  so  as  to  form 
a   background    for   xour   stud_\. 

Start  work  with  a  large,  well-filled  brush.  l'".gg  should  pre\iously  have 
been  sketched  in.  in  the  usu.al  w;i\,  first  with  charcoal  and  then  redrawn  in 
a  cle.an,  line  jiencil  outline.  Lay  in  outline--  of  sh.adow  that  egg  throws  on 
table  while  background  color  is  still  wet,  so  as  to  obt;iin  a  soft  outline  of 
shadow;  .after  this  is  dry,  strengthen  with  a  deeper  shade  in  middle  and 
close  to  egg.  I'.-iint  lightest  tint  in  egg  first  and  when  still  damp  go  to 
the  darker  shading  in  order  to  obtain  a  good  graduation  ol   the  tints  and  a 


jjt-rffct  rdUiidiK'ss  nf  tlic  esi<j.  Make  aiintlicr  skctcli  nf  a  collectidii  uf  twti 
or  three  eggs  and  ])r(iceed  as  hefnre.  Next  ])aint  an  apple  and  a  potato  or 
other  seasonable  fruit  and  vei^etahlcs  easy  to  reprndiu-e  in  colors.  I-'or  your 
last  fruit,  study  orani^'es.  hananas  and  grapes.  L;Tnni)ed  tntrether. 

Next  you  nuist  try  tn  reproduce  in  water  cnlurs  olijects  with  shiny 
surfaces,  such  as  s^'lassware,  tin  ]i;iils,  bottles,  crockery,  etc.  Your  last 
])r(il)leni  will  he  to  ])aint  pl.mts  ahA  (lowers  in  w.ater  culor.  IVciceed  as 
tauiiht  in  previous  ch,i]iters  dealing;"  with  flowers  ;ind  plants,  nsin;.;-  first 
hunch  of  leaves,  then  single  flowers  and  finally  a  hunch  of  >t-veral  flowers 
in  a  \'.ise,  J^'lass  nv  crock,  tor  models.  l!e  \ery  careful  with  your  outline 
drawinti  and  he  sure  that  it  is  absolutely  correct  before  you  .•ittetn]it  to  la\- 
vour  colors  on.  Keeji  your  tints  clean  and  distinct,  put  llieni  in  boldK  and 
(|uickl\  ;  (111  not  niuss  \our  colors  up  and  do  not  ])aint  one  tint  on  lup  of 
another  until  the  underlyins;  otie  is  absolutely  dry,  unless  a  soft  and  .grad- 
uated  tint    is   desired. 


CHAPTER  TEN 


WATER  COLOR  PAINTINGS. 
Interiors. 


X  the  previous  chapter  we  have  taught  yi>u  tlie  principles  and  tech- 
nique of  water  color  paintingf.  We  shall  now  put  our  acquired 
knowledge  to  the  test  and  try  to  make  a  series  of  interior  paint- 
ings, using-  moist  transparent  water  colors  as  a  medium.    This  will 

be  harder  to  accomplish  than  the  one  we  had  before,  when  we  used  the  pencil, 

the  pen  or  the  brush  in  oil  colors. 

\\'hen  using  transparent  water  colors,  you  must  work  quicklv  and  with 
precision,  especially  so  when  laying  on  the  large,  even  washes.  Previous 
to  starting  the  work  described  in  this  chapter  you  should  select  a  good- 
sized  sheet  of  good,  not  too  rough,  water  color  paper  and  a  good-sized,  well- 
formed  camel  hair  lirush.  Then  moisten  paper  slightly  and  mix  up  a  gen- 
erous supply  of  color  or  tint  and  start  from  the  upper  left  corner  to  cover 
the  paper  with  even,  large  washes,  filling  the  brush  generously  every  time, 
dragging  it  lightly  and  swiftly  over  the  paper,  giving  the  washes  a  slant 
from  left  to  right  of  about  45  degrees  and  letting  each  succeeding  wash 
laji  the  former  one  slightly  so  as  to  take  uj)  any  dripjiings  of  surplus  colof 
that  mav  have  collected  at  lower  edge  of  previous  wash.  Keep  this  prepar- 
atory practice  uj)  until  able  to  ct)ver  the  whole  paper  witli  perfectly  even 
washes  that  show  no  laps  and  no  difference  of  strength  in  tint. 

For  your  first  attempt  at  sketching  interiors,  copy  some  good  water 
color  re])roductions  of  not  too  difticult  interic^rs.  These  color  ]irints  can 
be  obtained  from  the  catalogues  of  a  great  many  of  the  leading  jjaint  man- 
ufacturers and  wall  finishers.  Try  to  imitate  the  style  and  artistic  work- 
manship of  the  originals  as  closely  antl  as  conscienciously  as  you  can.  Hav- 
ing obtained  the  necessary  practice  in  making  large,  even  washes  and  copy- 
ing of  interiors  ])ainteil  in  water  colors,  you  should  now  select  a  very  plain 
interior  as  a  model  for  the  lirst  water  color  sketch. 


Remove  most  of  the  furniture  and  pictures  from  that  ])art  of  the  room 
you  decide  to  draw.  Have  the  Hght  conic  from  one  side  and  from  one 
source  only.  Do  not  select  a  room  with  iigured  wall  paper  for  your  tirst 
model.  Plain  walls  are  easier  to  paint  in  water  colors.  I'ut  a  sheet  8x10 
inches  of  good  quality  medium  surface  water  color  paper  on  your  drawing 
board.  You  may  paste  down  the  edges  to  prevent  the  jiaper  frnm  curling 
u\}  if  you  wet  it  much.  First  draw  outlines  of  everything  you  want  to  paint, 
using  soft  well-pointed  charcoal  for  this  preliminary  work ;  wipe  out  partly 
and  redraw,  correcting  errors  and  being  careful  about  having  everything  in 
correct  proportion  and  perspective.  Having  secured  a  perfect  outline  sketch, 
clean  off  wall,  and  redraw  faint  charcoal  lines  with  a  very  tine  and  precise 
pencil  line,  using  a  hard  lead  pencil.  Give  paper  a  final  clearing  with  art 
gum  and  stale  bread  crumbs.  Get  ymir  water  colors  ready,  mi.K  large  tint 
in  a  saucer  or  on  a  porcelain  palette,  and  have  a  small  slip  of  water  color 
paper  handy  that  you  can  try  }our  colors  on  before  putting  them  on  your 
drawing. 

Now  scrutinize  the  wall  before  you  well,  note  its  color  in  the  middle 
tints,  mix  a  tint  accordingly  and  a  darker  tint  for  the  shaded  parts,  in  the 
lighter  parts  use  middle  tint  diluted  with  water.  T'ut  this  on  first  and  while 
wet  leail  middle  tint  intu  it  and  finally  darker  tint,  all  according  to  the  way 
they  appear  on  the  wall  liefore  yc)U. 

Use  plenty  of  color  in  }our  hru^h  and  work  rapidly  with  a  rather  large 
brush.  Clean  ofi'  surplus  of  the  colors  with  a  small,  wet  sponge  if  you 
should  happen  to  run  over  outlines  of  furniture  or  other  objects. 

Xext  study  color  of  floor,  if  this  is  shown  in  your  sketch,  and  lay  in 
ground  lines,  omitting  details.  When  wall  and  floor  are  dry,  select  a  small 
brush  and  start  to  paint  small  objects  such  as  di^ors,  pictures  or  wall 
furniture,  etc..  leaving  white  ])aper  show  greatest  highlights  and  laying  in 
your  light  tints  and  middle  tints  next.  Wait  for  the  colors  to  dry  before  you 
put  in  deepest  shadows.  Be  sure  that  your  colors  match  up  perfectly  with 
the  model  before  you  and  occasionally  stand  back  from  your  painting  and 
look  at  it  and  the  room  you  are  painting,  at  the  same  time  noting  where 
vour  color  needs  strengthening  and  retouching.  Having  finished  your  water 
color  picture,  rearrange  room,  putting  in  a  little  more  furniture  and  hang 
another  picture  or  two  on  the  walls.  At  your  next  opportunity,  try  over 
the  same  picture  again,  this  time  benefiting  by  the  experience  you  have 
obtained  and  correcting  the  mistakes  of  first  sketch.  For  your  first  model, 
select  a  corner  of  a  room  furnished  a  trifle  more  elaborately,  spend  a  great 
deal  of  study  on  obtaining  the  correct  foreshortening  and  perspective  and 
bear  in  mind  that  no  amount  of  paint  will  correct  a   faulty  drawing.     Try 

—87— 


tt)  keep  your  washes  clear,  distinct  and  lirilliant.  Wliere  tints  are  soft,  they 
shiiuhl  he  l)lende(l  intu  each  nther  while  still  wet.  In  this  sketch  xoii  can 
imyjaste  your  hit;hliL;hts,  usino-  Chinese  white  tn  make  yonr  hiL;hlii^hts 
opaque  and  coloring  the  white  until  ynu  have  ohtained  the  correct  tint. 
This  must  only  be  done  sparingly  and  only  in  a  ver\-  higliest  catchlight  on 
Ijrass,  gilded  molding,  chinaware,  polished  furniture  and  like  objects  with 
sniiiiith,  shiny  surfaces,  llaxing  ciim])leted  ynur  [licture  to  yuur  satisfactinn, 
set  away  and  wait  ior  your  next  o])i>ortunit\-  tn  |)aint.  Then  rearrange  fur- 
niture in  corner,  adding  a  few  more  pieces,  and  proceed  to  make  another 
water  color  sketch  uf  the  model,  trying  to  make  it  still  better  than  the  first. 

Fur  \our  last  jiniblem,  ynu  should  --it  well  back  in  a  large,  elab<iratel\' 
furnished  riKini.  A  hall  ur  church  interior  nia_\-  also  be  selected.  Take  a 
jiosition  where  }iiu  can  see  three  sides  of  the  room  and  possibly  a  window. 
}'roceed  as  directed  abo\e  and  make  two  sketches  at  dilterent  positions  of 
these  interiors.  Before  practicing  on  making  water  color  sketches  of  in- 
teriors, we  should  .advise  you  to  select  several  pieces  of  furnittire,  placing 
these  against  a  white  sheet,  an<l  make  several  w.iter  color  sketches  (jf  them, 
omitting  any  backgr(]und  ;ind  onU'  leaving  a  slightlv  tinted  and  vignetted 
wash    under   legs. 


SKETCHES  IN  WATER  COLORS  FROM  NATURE. 


In  the  former  lesson  was  taught  the  painting  of  interiors  .-md  water 
colors,  and  thr(iUgh  the  practice  obt.ained  making  studies  reipiired  for  the 
lessons  the  piqjil  acc|uired  ;i  good  knowledge  of  mi.xing  tints  and  improving 
his  general  techni(|ue.  which  will  help  him  a  gre;it  deal  when  he  starts  on 
the  more  diftlcult  task  of  reproducing  the  flight)-  shades  and  brilliant  tints 
of  color  seen  in  the  o])en. 

In  the  p.ainting  froni  nature.  <iut  of  doors,  we  should  ;id\ise  \  nu  to 
obtain  a  small  color  bo.\.  containing  the  colors  ;ind  other  materi.ils,  together 
with  a  portfolio  m;ide  ol  heavy  ]i;isteboard  and  not  smaller  tlian  SxlO  inches, 
to  the  outside  of  which  he  c;in  tasteu  the  water  color  ]>aper  with  thmnb 
tacks:  a  li.ght  sketching  easel  on  which  the  sketch  can  be  ])laced  while  being 
painted  is  a  very  handy  ihinu  to  ha\'c.  as  it  allows  you  to  walk  awav  from 
your  work  .-ind  ins])ect  it  from  ,i  (Hstance,  while  working  .it  the  sketcli,  a 
l)r;ictice  which  enaliles  you  to  observe  faults  in  the  wcirk  which  you  might 
n<it  have  noticed  at  a  close  ins])ection.  When  working  oiU  of  doors  yoimg 
sketchers  often  make  the  mistake  of  having  their  landsca])es  too  green  (not 
too  blue).     They  know,  ior  instance,  the  local  c(jlor  of  trees  .and  ]),iinl   Ihiin 


so,  forgetting  that  the  trees  themselves  assume  all  kinds  nf  hues,  according 
to  the  light  cast  on  them  and  the  density  of  the  atniospliere  thrcuigh  which 
it   is   seen. 

A  few  wnrds  as  to  the  best  materials:  W'atman's  drawing  ])a])er.  made 
11])  in  hldcks.  is  decidedly  preferable  fur  water  colcir  sketching  fn>m  nature. 
The  rough  grain  i>\  paper  helps  the  atmos])here  and  furnishes  the  li.ght  in 
the  foreground  in  the  most  ready  way  1  he  size  should  not  1)e  less  than 
8x10  or  8x12  inches.  The  brushes  should  be  of  sable  and  a  Larger  brush 
should  be  reserved  for  clouds  and  skies.  The  colors  should  be  moist  water 
cokjrs  ( W'insor  &  Newton's  preferable).  A  tube  or  l)ottle  of  Chinese  white, 
a  hard  ])encil  for  sketching  the  outlines  of  a  scene  in  and  a  water  bottle,  a 
jnece  of  white  pa])er  to  try  the  tints  on  and  a  coU])le  of  rags  to  clean  the 
brushes  on  will  complete  your  outfit.  .\  piece  of  cardbo.ird  cut  oiU  like  a 
frame  and  held  in  front  of  your  e\e  will  help  \ou  to  determine  what  should 
i)e  included  or  excluded,  in  your  sketch  in  order  to  obtain  the  best  and  most 
picturesc|ue  view  of  the  .scene  selected. 

When  sketching  from  nature  you  must  observe  the  following  jjrinciples: 


1.  ATMOSPHERE. 

2.  KEEPING. 


3.  CONTRAST. 

4.  VARIETY. 


The  atmosphere  out  of  doors  changes  with  the  weather  and  the  time 
of  dav,  anil  also  changes  all  c<ilors  and  tints  in  nature,  which  look  dif- 
ferent under  clear  skies  than  on  clou<ly  days,  dilTerent  later  in  the  atternoon 
than  in  the  middle  of  the  da\.  These  changes  of  atmosphere  and  color 
should  be  studied  well  by  the  juipil  before  he  attempts  to  paint  from  nature. 

The  first  care  of  the  sketcher,  after  securing  his  i)encil  outline,  will  lie 
to  ])reven.t  confusion  in  the  various  distances.  Sky  and  a  far  distance  should 
be  kept  in  soft,  light  tones  ;  middle  distance  somewhat  warmer  and  richer 
colored,  and  tiie  greatest  strength  oi  color  and  li.ghl  should  be  reserved  for 
the  foreground.  When  xour  general  outline  is  finished,  get  a  tint  color 
over  everything.  Use  as  little  water  as  possible;  this  saves  time  in  dry- 
ing and  gives  a  bolder  effect  at  once.  Cut  out  the  white  i)aper  as  soon  as 
you  can,  e.xcept  in  the  sky  and  the  highlights  in  the  foreground.  Begin 
tinting  with  the  distance  and  work  tow.ird  the  ftjreground,  or  you  may 
get  the  distance  too  strong.  .Always  be.gin  with  a  tint  of  blue,  however  pale, 
as  it  imparts  confidence  by  securing  at  once  some  resemblance  to  the  at- 
mosphere, which  is  generally  more  or  less  blue  in  the  remote  distance.  It 
is  good  practice  to  jjaint  the  first  two  or  three  of  your  water  color  studies 
from  nature  in  monochrome,  using  either  sepia  br<iwn,  light  green  or  blue 
for  the  color. 


Passiny  on  to  the  use  of  the  more  positive  colors,  your  next  (.il)ject  is 
to  get  the  Hght  shado^^•s  in  and  on  them  show  the  details.  The  colors 
should  be  ])Ut  in  at  once,  and  afterwards  should  he  disturbed  as  little  as 
possible.  You  must  not  expect  to  get  your  effect  by  one  wash  only,  as  this 
cannot  be  done  in  water  colors.  Sufficient  time  must  elapse  between  the 
washes,  allowing  each  to  dry  thoroughly,  and  be  very  careful  about  your 
first  or  under  tints — remember  that  these  will  be  your  lights.  Have  them 
bright  enough.  Have  them  pure.  Have  them  flat  or  they  will  not  show- 
up  well  when  shut  in  liy  the  after  tints. 

The  next  important  point  in  a  sketch  from  nature,  and  that  gives  it 
character  and  value,  is  contrast.  Power  does  not  consist  in  strong  and  gay 
colors,  but  is  entirely  the  result  of  proper  combinations  and  contrasts.  Two 
contrasting  tones  must  be  brought  together  and  the  power  of  each  will  be 
felt.  You  should  already  be  aware  of  the  three  principal  contrasts  :  Blue 
opposed  to  orange,  red  to  green,  yello'.v  to  purple,  and  carrying  out  this 
principle  of  opposition,  you  will  obtain  an  endless  variety  of  contrasts. 

Another  source  of  pleasure  to  the  eye  of  works  of  color  is  variety. 
You  may  take  it  as  a  rule  that  to  continue  the  same  tint  over  a  sjjace  of 
any  size,  witliout  \arying  the  strength  of  it.  is  sure  to  produce  tameness 
and  insiiiidity.  Lastly,  never  touch  yijur  original  sketch  after  leaving  the 
spot.  What  you  put  down  while  on  the  spot  where  the  sketch  is  taken  is 
a  nature  lesson  to  you,  and  if  you  touch  it  away  from  her  influence,  you  may 
obliterate  the  results  that  were  her  valuable  instruction.  We  will  now  go 
out  into  the  open  and  commence  our  first  sketch  in  winter  color  from  nature. 
For  our  first  suljject,  we  will  select  something  easy,  as,  for  instance,  an 
open  prairie,  without  any  prominent  objects  in  the  foreground  and  show- 
ing a  vast  expanse  of  sky  and  far  distance.  Select  a  day  when  the  skies 
are  showing  distinct  clouds,  as  this  is  easier  to  paint  than  a  jjlain  sk\-  would 
be.  Dampen  your  paper  slightly  before  ]nitting  in  the  sk\-  in  liolil,  (|uick 
strokes,  with  a  large  brush  well  filled  witli  color,  noticing  that  tiie  white 
parts  of  your  clouds  are  pure  and  lighter  the  nearer  they  are  to  the  zenith. 
and  get  more  yellowish  or  even  reddish  and  purj)lish  the  nearer  the\  come 
to  the  horizon.  After  your  sky  has  been  finished  satisfactorily,  start  on  the 
underlying  tints  of  your  far  distance,  which  will  take  more  or  less  of  the 
bluish  hue;  gradually  work  toward  tlvj  foreground,  introducing  greens, 
yellows,  red,  purples  or  browns,  as  you  see  them  in  the  landscape  before  vou. 
After  the  whole  sheet  has  been  covered  with  tints  let  these  dry  thoroughly 
before  starting  (jn  the  second  painting,  strengthening  up  the  tints  and  putting 
in  details  here  and  there,  loading  your  lirn^li  well  with  colors  when  working 
toward  the   foregrtiund.   which   should   show   the   greatest   variety   of   colors 


and  the  most  details.  Now  step  away  frcjiii  }L>ur  sketch  and  then  look  at 
it  friim  a  distance,  noticing  where  it  is  lacking  in  strength  and  brilliancy. 
and  tr\-  to  remedy  this  fault  in  the  third  painting.  If  your  sketch  should 
need  strong,  bright  highlights  in  the  paper,  and  which  you  have  not  ob- 
tained by  leaving  tiie  paper  white  or  lightly  tinted  between  the  edges  of 
your  washes,  you  can  i)Ut  these  details  in  by  mixing  your  colors  with 
Chinese  white,  until  y<m  obtain  an  opaque  color  of  the  desired  tint,  with 
which  you  can  obtain  the  desired  highlights. 

For  your  next  problem  select  a  little  more  different  subject,  introduc- 
ing some  easy  objects  in  the  foreground,  as,  for  instance,  an  old  broken- 
down  fence,  a  rustic  gate,  an  upset  barrel,  or  the  like.  Proceed  as  before, 
but  be  sure  that  you  obtain  sutiicient  strength  and  brilliancy  to  the  objects 
m   the   immediate    foregroimd. 

For  your  first  attempt  make  a  study  of  the  outskirts  of  woods  seen 
as  great  masses  of  foliage  in  the  middle  distance  of  your  sketch.  For  your 
second  and  third  sketch  select  single  trees  standing  in  the  foreground  and 
make  careful  color  studies  of  them,  defining  well  the  particular  color  of 
the  leaves,  also  the  individual  anatomy  of  the  limbs  and  trunks  of  the 
specimens   selected. 


CHAPTER  ELEVEN 


MATERIAL  AND  TOOLS  USED  IN  THEATRICAL  SCENE  PAINTING 


111',  earnest,  ililii;ent  stiulent,  whu  has  successfulK'  mastered  the 
liriihlenis  _L;iveii  him  in  ]irevious  chapters,  should  now  he  sd  far  ad- 
\anced  in  the  general  techni(|ue  ni  drawing-  and  painting  that  he  can 
hegin  t<i  paint  miniature  scenery  for  theatrical  purpuses.  which, 
when  he  lias  occasinn  tu  do,  he  can  easily  enlarge  tu  an\-  size  desired  fur  prac- 
tical use.  We  (111  Udt  suppose  that  the  ordinary  person  will  start  out  to  huild  a 
great  big  scenic  studio,  with  lioisting  m.achinery,  power  elev.ators  and  paint 
galleries,  and  we  shall  therefore,  in  descriliing  a  theatrical  scene  jiainter's 
shojj.  Confine  ourselves  to  one  on  a  smaller  scale,  that  can  he  erected  any- 
wdiere  hy  any  ordinary  carjienter  without  involving  a  too  great  expense. 

Before  describing  the  studio  in  which  theatrical  scenery  can  best  be 
niatie,  we  shall  de\'ote  a  few  remarks  to  the  materials  .and  tools  used  in 
scer.ery  jiainting.  Theatrical  scenery  painting  of  the  highest  ;ind  most  ex- 
pensive grade  is  generally  p.iinted  on  Russian  linen,  woven  especially  in 
great  widths  ffir  this  ]jur]iose.  but  fcjr  ordinary  grade  of  scenery.  ;i  heavy, 
coarse,  unldeached  muslin  will  answer  the  purpose  very  well,  anil  is  con- 
;;i(ler;ibly  less  expensive  than  the  \>uvv  linen  gooils. 

h'or  backiuL;  up  transjiarent  cutouts  in  opaipie  drops,  oil  parchment,  or 
better  still,  architect's  tr.acing  cloth,  is  often  used.  To  represent  trans- 
parent window  glass,  a  light  blue  gauze  is  being  use<l.  hUr  transformation 
Fcener\  the  tr;ins])arent  s])aces  .are  covered  with  uiiblc,nhed  linen  screen. 
j)ainted  on  front  like  the  rest  of  scene  .and  showing  the  desired  effects 
through  its  open  niesh<-s  when  light  is  turned  on  behind  and  off  in  front. 
(  )u  cut  driips  the  lUl  goods  .are  held  in  place  bv  S(|uare  mesh  netting  that 
Comes  in  neutr.al  and  dark  blue  colors.  Directions  in  working  and  .i|)plying 
the   .above    mentioned    gooils    will    be    gi\en    in    .1    later    ch;i|iter. 

'i'he  brushes  used  in  scenery  ])ainting  shoulil  be  ol  the  iiest  grade,  and 
it  does  not  jjav  to  use  inferior  tools.  ITat  wall  brushes  .and  bulletin  brushes, 
preferabl)    with  white  bristles,  not   to<i  long,  but    full  .and  springy,  make  tiie 


Ijest  tools  for  distemper  and  fresco  work.  They  should  range  in  size  from 
one-third  <>f  an  inch  to  three  or  five  inches.  For  large  skies  and  for  sizing 
a  large,  fiat  kalsoniine  brush  should  he  used. 

If  rubber  set  brushes  are  not  used,  care  should  be  taken  that  the  ordi- 
nary glue  set  brush  is  nt>t  plunged  in  hot  water,  color  or  sizing.  When 
brushes  used  iur  distemper  work  wear  down  st)  that  the  bristles  get  too 
short  to  hold  sufificint  amount  of  color,  they  will  be  found  of  excellent  serv- 
ice in  dye  work,  where  a  short,  stubby  brush  works  to  best  advantage.  For 
oil  i)ainting  the  brushes  should  have  rather  long  elastic  bristles.  The  the- 
atrical scene  painter  who  paints  small--iized  models  does  not  need  a  brush 
much  larger  than  two  or  three  inches. 

.\lways  clean  your  brushes  well  after  using  them  and  keep  them  in  a 
flat  tray  where  the  bristles  do  not  become  mussed  up  and  disarranged. 
Brushes  used  in  oil  sliouM  be  washed  in  clean  gasoline  and  before  being 
laid  away  rubbed  with  a  grease  made  of  part  coal  oil  and  part  leaf  lard. 
This  ])revents  the  brush  from  becoming  hard,  but  it  must  be  washed  out 
with  gasoline  before  being  used  again.  Firushes  that  are  fre(|uently  used 
can  be  kept  soft  between  working  hours  by  being  laid  in  a  tray  or  trough 
filled  with  a  solution  of  ])art  linseed  oil.  part  coal  oil  and  part  gasoline. 

For  sketching  in  scenes  charcoal  is  used,  also  chalk  ])luml)line.  yard- 
sticks or  long  ruler?,  and  a  flexible  ruler  to  make  arches  and  ovals  with. 
The  scene  painter  should  ,ilso  have  several  straight  edges  with  double 
iiended  edges  and  a  handle  in  the  middle,  and  will  also  need  for  interior 
work  a  good  supply  of  stencils  and  pounce  patterns. 


SCENIC  STUDIOS. 


If  the  student  of  theatrical  scene  painting  should  desire  to  go  into  busi- 
ness for  himself  and  wishes  to  build  his  own  studio,  he  can  either  arrange 
his  shop  with  large  windows  in  roof  and  sides,  so  as  to  allow  the  work  to 
be  done  in  a  good  strong  daylight,  or  he  can  do  all  of  his  painting  liv  arti- 
ficial light  (electric,  arc  or  strong  Mazda  lamps  preferre<l).  In  the  latter 
case  he  will  obtain  exactly  the  same  color  effect  as  the  one  given  the  scenery 
by  the  artificial  light  in  the  theater,  but  the  use  of  gas  or  electric  light  all 
the  time  is.  of  course,  more  expensive  than  daylight. 

Artists  working  in  daylight  shoulil  rc-mcmber  that  the  somewhat  yel- 
lowish  artificial   light   stands   to  warm   up  his  tints   and   sometimes   ruin   his 


delicate   effects   in   light   lilue   and   purple,   and   lie   should    lay    out    his   color 
scheme  accordingly. 

In  a  scenic  studio  should  be  found  several  adjustable  j)aint  frames  for 
the  suspension  of  the  goods  on  which  the  scenes  are  to  be  painted.  There 
are  many  different  styles  of  these  frames.  If  the  room  in  your  studio  does 
not  allow  the  frames  to  go  up  and  down,  which  requires  about  45  feet  in 
height  for  large  standard  size  drops,  we  can  recommend  a  frame  that  con- 
sists of  a  movable  top  batten  made  of  several  thicknesses  of  1x2  inch  white 
pine  boards,  nailed  together  and  reinforced  with  iron  strips  until  it  is  rigid. 
This  should  be  suspended  from  several  ropes  going  over  easy  working  pul- 
leys, fastening-  to  ceiling  joists  directly  above  batten.  To  lower  edge  of 
this  batten  should  be  nailed  a  strip  of  l.x2  inch  ])oard  having  six-pennv  fin- 
ishing nails  driven  upward.  The  ends  of  these  nails  should  be  sharjjened  to 
a  needle  point.  It  will  only  be  a  mument's  W(irk  to  hang  a  piece  of  goods 
on  these  sharp-pointed  nails.  The  goods  should  be  stretched  slightK-  while 
being  put  on.  The  sides  of  cloth  should  be  stretched  in  a  similar  nianner  to 
uprights,  of  wdnich  the  left  one  can  be  stationary  and  the  right  one  movable. 
On  the  floor  of  the  studio,  directly  under  the  top  batten,  a  long  board 
studded  with  nails,  sharj>ened  and  bent  slightly  downward,  should  be  fast- 
ened; to  this  lower  edge  cloth  shoidd  be  stretched,  and  if  properlv  hung 
it  will  be  found  tight  as  a  drum.  Where  upright  reaches  top  batten  it 
should  be  fastened  to  this  witli  a  nail  driven  through  bored  holes  in  upright 
or  wooden  plugs.  The  lower  end  of  upright  should  be  fastened  to  floor 
boards    in   a    similar   manner. 

Scenery  for  smaller  theater^;  runs  in  different  sizes,  from  8.\10  feet  to 
16x24  feet.  Standard  size  theaters  generally  accommodate  drops  from  20x,^0 
feet  and  up.  Front  drops  arc  even  larger  and  in  most  cases  can  be  painted 
to  better  advantage  directly  in  the  theaters  \^■here  they  are  hung.  Most  of 
the  larger  theaters  have  ijaint  bridges,  where  scenic  work  can  be  done.  In 
the  smaller  sho])s,  where  the  p;imt  frames  do  not  nio\e  up  and  down  hut 
are  stationary  after  once  adjusted  to  the  size  on  hand,  they  nmst  be  reached 
by  several  tiers  of  scaffolding-,  generally  ciiled  i)aint  briilges,  consisting  of 
long  platforms  about  2x3  feet  wide  and  ruiming  the  full  lengtli  of  the 
frames.  They  sIkjuUI  be  ijl;iced  at  a  convenient  space  from  frame  and  be 
built  on  this,  directly  over  each  other,  with  a  space  between  each  of  ,-ibout 
seven  feet.  The  side  away  from  the  paint  frame  should  l)e  ftn-nished  with 
shelves  on  which  the  artist  v:\n  set  his  colors.  .\  small  hand  elevator  at 
each  end  of  bridges  or  ])latforni>  will  be  found  handy  to  hoist  colors  to  the 
men  vvorkmg  above  from  the  main  floor.  The  bridges  can  also  be  made 
moval)le  .-ind  hoisted  in  place  with  a  windl;iss,  <ir  they  can  be  .-irranged  like 


ihe  swinging-  stages  used  for  outdoor  painting  on  walls  or  bulletins,  but  all 
these  methods  require  more  or  less  expensive  construction,  and  if  the  painter 
lias  more  agilitv  than  money  he  will  get  along  with  his  stationary  jilatforms 
and  climb  a  vertical  ladder  at  each  end  of  them  whenever  he  wants  to  move 
higher  up  than  the  studio  floor.  It  will  often  be  found  to  advantage  to  have 
small  movable  trucks  for  stands  for  colors,  so  they  can  be  wheeled  around 
to  where  they  are  wanted  by  the  working  artists. 


SIZING  COLORS,  COLOR  BLENDING  AND  DISTEMPER  WORK. 


Theatrical  scenery  is  either  painted  in  distemper  colors  (water  colors), 
flat  oil  paint,  or  aniline  dyes.  The  first  kind  is  the  scenery  most  generally 
used,  the  second  kind  is  used  mostly  for  much  exposed  stufl:",  such  as  scenery 
for  stages  under  canvas;  the  third  kind,  which  is  sdft  and  pliable,  is  called 
trunk  scener\-,  and  is  usctl  a  great  deal  by  vaudeville  actors  an^l  smaller 
traveling  theatrical  companies. 

In  the  following  chajtters  will  l>e  given  directions  in  the  painting  and 
building  of  each  kind  of  scenery. 

All  canvas  or  muslin  to  be  painted  in  distemper  colors  should  first  be 
coated  with  glue  sizing,  consisting-  of  a  thin  solution  of  bottled  whiting, 
strengthened  with  glue,  'i'liere  are  many  branches  of  conimercial  glue  in 
the  market,  some  bad  and  some  good.  Peter  Cooper's  Xo.  Ijs  is  a  very 
good  grade  for  distemper  work,  but  a  cheaper  grained  glue  can  also  be  used. 
A  stronger  stock  solution  of  this  should  be  mixed  uj)  and  cooked;  avoid 
burning  it.  This  stock  solution  should  be  diluted  with  water  when  being 
mi.xed  with  drv  colors:  by  ex])ericnce  you  will  le;irn  to  have  the  glue  of 
just  the  right  strength.  If  you  do  not  get  sufficient  in  your  sizing  it  will 
feel  kind  of  soft  and  mealy  to  the  touch  and  come  off  on  your  fingers  when 
you  touch  it.  If  you  have  sufficient  glue  in  your  sizing  the  surface  will  be 
firni  and  hard  and  not  rub  oil  in  tlic  least.  If  you  make  your  sizing  thin, 
the  fresco  colors  will  lilend  very  easily  and  dry  rather  slowly,  but  they  will 
not  look  velvety  and  rich  as  if  the  sizing  had  been  heavy  or  had  been  given 
a  second  coat  of  priming. 

The  colors  to  be  used  in  distemiicr  ])air,ting  should  be  a  good  grade  of 
fresco  color,  which  can  be  obtained  in  .i  dry  or  moist  state  at  the  larger  deal- 
ers. For  ordinary  work  we  prefer  the  dry  colors.  Helow  are  given  a  list 
of  the  most  commonlv  used  medium  priced  fresco  colors: 


BLACK.  Lampblack  is  a  cheap  black  mixed  ])0(irly  with  water  and 
should  be  mixed  up  to  a  thick  paste  before  diluting'  to  working  strength. 
Scenic  black  is  a  better,  somewhat  purplish  black. 

ZINC  Wll rnc  or  EXC.LISH  FLAK1-:  WHITE  are  two  good  pure 
whites. 

LEMON  MEDIUM  and  ORANGE  CHROME  YELLOW  make  good  yel- 
lows. 

ORANGE  MINER.KL  is  a  good  but  heavy  orange. 

YELLOW  OCHRE  is  a  good  chcai)  yellow,  useful  in  painting  stones  and 
rocks. 

RAW  SIENNA  is  a  goc)d  dark  yellow,  useful  in  foliage. 

DUTCH  PINK,  also  a  darker  yellow,  is  useful  as  a  gold  ground. 

CHROME  (iREEN,  light,  medium  and  dark,  are  useful  greens. 

FOLIA(jE  (iREEN  is  a  good  color  for  leaves  and  trees. 

MALACHITE,  SAPPHIRi:  and  PEACOCK  GREEN,  moist  pulp  colors, 
are  fine  colors  for  distant  foliage. 

BURNT  SIENN.\.  a  reddish  brown,  very  useful. 

INDIAN  RED,  a  purplish  red,  useful  in  draperies  ;  a  strong  color. 

BURNT  UMBF.R,  a  good  dark  brown. 

\  x\N  DYKI*-  BLUl*-.  a  cheap  blue,  useful  in  fL)liage  and  some  sky  effects. 

SKY  I!LL'1\,  a  splendid  clear  blue. 

ULTRAMARINE  BLUE,  a  deep  blue,  splendid  for  purples. 

MACiENTA  RED,  a  pur])lish  red,  with  bluish  cast,  good  for  lavenders 
and  purples. 

ORIENTAL  RED.  a   Ijrilliant    red.  not   as  expensive  as   good   vermilion. 

TURKEY  RED,  a  beautiful  strung  red,  tine  for  drai)eries  :  hard  to  mix 
in  water. 

VENE:T1.\X  RED.  a  cheap,  bn.wnish  red. 

There  are.  nf  course,  numy  more  dry  colors  on  the  market  th.in  the 
above  nientii  piicil.  biU  the  list  includes  most  of  those  in  general  use  and 
almost  an\-  tint  or  color  effect  can  be  obtained  by  their  judicious  use.  l'"or 
your  tir>t  attempt  .it  ])ainting  in  fresco  colors,  you  should  obt.iin  an  easel 
or  easel  table  on  which  to  place  your  miniature  |),iint  frame.  This  sliould 
be  about  three  by  four  feet,  not  much  smaller,  not  l.irger,  m.ide  of  ordinary 
one  b\'  two  incli  white  pine  strips.  Tack  a  piece  (^f  unbleached  muslin  on 
this  fr;ime,  set  it  u])  in  a  good  light,  prepare  your  sizing  as  explained  above 
and  size  in  vonr  canvas.  If  first  coat  does  not  give  desired  finish,  give  it 
another  I'oat,  .after  the  lirst  is  thoroughly  <lry.  TIumi  procure  or  m.ake  a 
sm.all  st.and  to  hold  vuur  colors,  which  should  be  mixed  in  suiall  tin  cans, 
according  to  directions  already  given.     Set   tluMU   up  in  ;i   tr.iy   at    one   en<l  ol 


your  stand  and  nail  a  couple  of  wide  boards  to  iinciccui)ied  top  of  same,  so 
as  to  form  a  palette  for  mixing  your  tints.  Arrange  a  shelf  in  between 
legs  of  table  on  which  you  can  keep  the  colors  not  in  immediate  use.  Also 
fasten  a  small  tray  to  hold  your  brushes  on  a  very  convenient  place  in 
front  of  stand. 

Now  subdivide  your  sized  sheet  into  a  good  many  small  spaces,  each 
being  about  three  or  four  inches.  Use  a  straight  edge  or  a  good  stick,  set 
off  each  of  these  measures  all  around  edges  of  sheet  and  draw  charcoal 
line  (using  straight  edge  between  points).  In  each  of  the  small  scpiares 
at  top  of  sheet  ]jaint  in  one  of  your  colors,  red.  yellow,  orange,  etc.  l'"irst, 
the  primary  Cdlcirs,  red.  }ellow,  blue;  then  the  secondar}-.  orange,  green, 
purple;  then  all  the  rest,  as  black,  brown,  etc.  For  this  work  use  a  half-inch 
flat  brush  that  will  cut  a  nice  straight  line. 

Practice  making  flat  even  tints  and  perfect  outlines.  In  making  the 
outlines  of  the  square  press  hard  on  brush  and  use  the  full  width  of  it, 
gi\ing  it  a  hrm  even  pressure,  thus  avoiding  a  wobbl_\-  uneven  outline.  Next 
mix  your  tints,  that  is.  all  the  main  colors  mixed  v.ith  white,  which  gives  a 
lighter  tint.  Then  the  darker  tints  that  are  obtained  by  mixing  darker  col- 
ors into  lighter,  as  for  instance,  red  in  yellow  will  make  darker  red,  on  the 
orange  order:  brown  in  yellow  will  make  darker  yellow,  on  the  Dutch  pink 
order;  blue  in  green  will  make  light  dark  green:  black  in  green  will  make 
dull  dark  green;  brown  or  red  in  green  will  make  olive  green,  etc. 

Practice  these  combinations  on  four  or  six  sheets  laid  in  squares  as 
before,  and  keep  up  this  practice  until  you  know  all  obtainable  shailes  and 
tints  by  heart,  and  do  not  start  work  on  your  next  problem  until  you  have 
mastered  these  and  }ou  are  perfectly  sure  of  your  combinations. 


CHAPTER  TWELVE 


PLAIN  SKY  BORDERS. 


M.\LLI'"I\  theaters,  where  statu mary  hunlers  are  often  used,  a  com- 
bination border  fre(|uentl_v  answers  for  all  settings.  These  l)t)rders 
can  be  painted  in  plain,  neutral  colors,  made  l)y  mixing  a  cheap  blue 
as,  for  instance,  celestial  blue,  with  whiting  and  glue  sizing,  as  de- 
sciibed  in  a  former  chapter.  Sky  borders  for  larger  theaters  and  special  acts 
should  be  made  of  a  more  l)rilliant  sky  color.  Zinc  white  tinted  with  It;ilian  Iiluc 
to  the  desired  shade  will  make  a  verv  line  color.  Remember  tliat  all  fresco 
colors  dry  out  several  shades  lighter  than  when  wet,  the  shade  that  the 
color  will  have  when  dry  can  be  olitained  instantly  by  ])ainting  it  on  a  piece 
of  white  paper  and  drying  this  over  a  tiame  or  on  a  stove. 


BLENDED  SKIES. 


For  the  colors  of  a  ])lain.  blended  sky,  start  at  top  of  zenith  of  sky  with 
a  mixtiu'e  of  ultramarine  blue,  Italian  blue  and  white  and  p.iint  a  strip  full 
length  of  cloth  and  abcnit  one-tenth  of  height  of  -.ky.  While  this  color  is 
still  wet,  blenil  softl)'  into  it  the  ne.xt  strip  iielow,  which  should  be  ]jainrcd 
Italian  i)luc.  nii.xed  with  a  little  more  white  than  tlie  one  above.  Repeat 
this  ])rocedure  in  stri])  below,  this  time  using  still  nmrc  white  in  the  blue 
tint  .ind  adding  a  triHe  lemon  clironu'  yellow.  i'"or  the  ne.xt  strip  use  still 
more  white  in  the  mixture  and  ;iild  a  little  more  yellow.  In  the  strip  below 
there  should  not  be  an\-  trace  of  blue,  but  the  color  should  l)e  mixed  from 
pure  white  and  medium  chronic  yellow  :  in  the  next  strip  below  add  a  trille 
orange  mineral  to  tiie  yellow  and  in  the  last  strip  a  little  ipriental  red  or 
turkey  red.  If  the  dilTerent  stri])s  of  color  li.i\c  been  painted  (|uickly  and 
blended  well  into  each  other  when  still  wet.  the  sky  will  dry  out  even, 
showing  a  line  graduation  of  tints  frc.m  dei'p  blue  at  the  zenith  to  bright 
vellowish   red  at   the   hori/on. 


Be  sure  imt  to  get  your  sliades  ton  dark.  1iut  keep  tlieiii  all  in  a  light 
key.  \\'lien  painting  a  ]ilain  sky  (in  a  \ery  large  surfaee  it  is  hesl  to  liave 
t\\(j  men  so  that  one  ean  paint  and  Mend  in  direetlv  helnw  the  (jther  fel- 
low's work.  Practice  making  softly  hlendecl  skies  a  great  man\-  time-^  until 
you  have  olitained  an  effect  that  is  as  near  to  i)erfection  and  as  close  t<j 
nature   as   you   can    make   it. 

For  ])lain  sunset  skies  you  should  start  your  first  stri]j  of  color  with 
a  light  tint  consisting-  t)f  Italian  blue,  mixed  with  white  and  a  little  lemon 
yellow:  in  the  ne.xt  strip  use  more  white  and  more  \ellow  ;  in  the  one  fol- 
lowing helow  omit  the  Idue  entirelx  in  tint  and  let  this  consist  of  white  and 
yellow  only.  For  the  ne.xt  tint  use  lemon  \ellow  without  any  white,  and 
in  that  lielow  use  chrome  yellow  medium;  follow  this  with  a  strip  of  yellow 
mixed  with  orange,  then  a  strip  of  <irange  alone:  next  a  strip  of  orange  and 
turkey  red  and  the  last  strip  near  the  horizon  same  color  with  a  trifle  more 
red  in  it.  When  making  |il;iin.  lilendeil  ^kies  he  sure  to  ha\e  all  of  xciur 
tints  mixed  Ijefore  you  start  to  ])aint.  and  use  as  large  a  hrush  as  the  work 
in  hand  will  permit. 


VARIOUS  CLOUD  EFFECTS. 


In  your  ])revious  lessons  in  drawing  and  painting  from  nature  \(in  have 
had  a  great  many  opportunities  of  studying  the  sky,  as  it  looks  under  dif- 
ferent illumination  .ind  under  different  conditions.  "S'ou  will  now  h;ive  ;i 
chance  to  put  \iiur  knowledge  to  the  test  hy  making  various  skies  and  cloud 
eftects  in  fresco  colors  with  the  object  of  h;iving  them  exhibited  in  tlic 
artilici;il  light  of  the  stage  and  still  look  light  an<l  airy  like  the  real  thing 
out  in  n.ature.  The  better  your  ])rc])aration  for  thi>  work  has  been  the 
easier  will  be  your  ta?-k.  In  the  former  lessons  we  ha\e  ke])t  on  urging 
yt)ii  to  study  hard  and  long  on  work  in  these  |)rei)arator_\  pr<iblems.  so  as 
to  lay  a  solid  fouml.-it  ion  for  this  ]iraclic;il  v.nrk.  and  having  done  this  the 
remaining  chajiters  will  not  be  foinicl  h.ard  or  tedious,  as  all  practical  scene 
])ainting  is  built  on  tlie  ]irinciple  laid  ilown  in  our  former  ch;i])ters  on  draw- 
ing and  ])ainting. 

When  making  clouded  skies  for  theatrical  scener_\'  remember  that  where 
the  plain  sky  shows  through  the  clouds  the  coloring  is  the  same:  it  siiould 
therefore  be  dee])er  blue  at  the  t<ip.  lighter  Idne  in  the  middle  ;ind  xellowish 
at   the  bottom,  or  near  the  horizon.     The  outlines  of  the   clouds   should   be 


blended  softly  against  the  wet  sky ;  the  nearer  the  zenith  the  clouds  are 
the  whiter  are  the  edges,  and  the  nearer  the  horizon  the  more  yellowish. 
This  yellow  color  or  tint  shuuld  l)c  on  the  cream  order  and  can  be  mixed  of 
white  tinted  with  a  trifle  }'elki\v  and  red.  The  middle  part  of  the  cloud 
reaching  up  to  the  light  edges  can  be  painted  light  pink,  using  white  tinted 
with  a  little  turkey  red  and  magenta,  and  the  lower  part  of  the  clouds  should 
be  light  lavender  mixed  with  white  tinted  with  ultramarine  blue  and  ma- 
genta. 

For  a  cloudy  sunset  efl^ect  the  plain  sky  showing  through  the  clouds 
should  l)e  painted,  as  explained  in  a  former  paragraph.  The  clouds  \vhich 
can  be  shaped  to  suit  the  scene  of  _\our  taste,  all  obtain  their  illumination 
from  the  sun  below  the  horizon  and  their  lower  edges  should  therefore  be 
light  and  tlie  remaining  part  of  the  cloud  darker  and  of  different  color.  The 
nearer  the  ch.iuds  are  to  the  hcirizon  the  redder  the  lower  outlines  should 
be.  Those  in  the  middle  distance  have  orange  tinted  outlines  and  those  to- 
ward the  zenith  yellow  and  pale  greenish  lower  edges.  The  bodies  of  the 
clouds  can  change  from  a  rose  color  to  a  bluish  purple.  To  paint  a  good 
and  artistic  cloudy  siniset  effect  is  no  easy  task,  as  the  tints  must  be  bright 
and  pure,  light  .'ind  seemingly  transparent,  and  you  will  have  to  try  a  good 
many  times  before  you  obtain  the  desired  efiect.  Study  the  color  effect  of 
the  real  sky  at  sundown  and  try  to  imitate  these  colors  in  your  scenic 
work  as  closely  as  your  memory  and  your  talent  will  permit  you.  It  will 
be  an  excellent  plan  to  obtain  a  collection  of  good  color  prints  showing 
reproductions  of  sunset  and  eflfects. 


CHAPTER  THIRTEEN 


SCENIC  PAINTING  OF  ROCKS,  STONE  WALLS, 
PRISONS  AND  CASTLES. 


HE  theatrical  setting  depicting  a  scene  in  the  mountains  generalK' 
consists  of  a  "back  drop"  showing  distant  motintains  and  foothills, 
and  is  called  a  "rocky  pass  drop."  In  frcint  of  this  drop  are  placed 
two  large  profiled  set  pieces  representing  passes  of  loose  rocks  in- 
clining; down  toward  center  of  stage.  These  set  pictures  are  called  "tail  rocks." 
Free  standing  rocks  in  either  places  of  stage  are  called  "table  rocks."  The  sides 
of  a  "rocky  pass  setting"  are  closed  in  with  profiled  wings  representing 
rocks,  bouklers  and  trees.  In  more  ambitious  settings  several  of  the  wings 
are  replaced  Ijv  "leg  drops"  and  "cut  drops,"  representing  sky  and  formation 
of  rocks.  In  the  follow^ing  chapters  we  shall  consider  the  painting  in  fresco 
colors  of  rocks,  boulders  and  rough  stones. 


ROCKS  AND  ROUGH  STONES. 


Rocks  painted  fur  tlieatrical  jmrposes  should  siiow  a  pronounced  dis- 
tinction in  color  between  the  shaded  and  lighted  sides.  The  source  of  il- 
lumination may  he  varied  to  suit  the  purpose,  but  the  light  must  not  fall 
from  more  than  one  direction  on  the  painted  scenery.  Some  rocks  have 
square  forms,  and  sharp  well-defined  outlines;  others,  like  boulders,  are 
more  rounded  and  the  distinction  between  light  and  shade  is  less  pronounced. 
Rocks  in  the  shade  show  cool  colors  such  as  blue,  Ijluish  green  and  bluish 
])urple,  while  coloring  of  the  lighted  sides  should  be  warm  and  brilliant 
and  change  from  pale  cream  to  bright  rose  color,  according  to  the  kind  of 
stone  represented.  Rocks  should  be  painted  boldly  and  loosely,  so  as  to 
represent  the  natural  roughness  of  the  stone,  and  all  cracks  and  crevices 
in  the  rocks  should  be  laid  in  boldly  and  sharply,  when  underlying  color 
is  partly  dry  or  completely  dry. 


Fcir  your  first  stiui}'  nt  rocks  stretch  a  piecf  of  muslin  on  your  paint 
frame.  Size  it  in  and  draw  with  charcoal  the  outlines  of  a  couple  of  table 
rocks  of  different  designs  hut  somewhat  similar  in  contcmr  to  I-'Il;-,  1.  I'late  8, 
Mix  up  light  and  dark  purjiles.  hluish  and  greenish  tints  for  the  shaded  sides 
and  dark  greenish  ycll'iw  for  the  lighted  sides  of  rocks. 

.Vise  have  some  darker  brownish  yellow  and  reddish  yellow  tints  and 
one  almost  pure  white,  with  the  slightest  shade  of  yellow  in  it.  These  tints 
should  be  used  to  break  up  the  monotony  of  the  light  sides,  being  blended 
softly  intii  the  creamish  general  colc>r  \\hile  this  is  still  wet.  and  used  for 
retouchinp'  and  brintring  i>ut  the  strong  lights,  especialh  along  the  edees 
where  the  dark  part  touches  the  light.  These  strong  well-defined  strokes 
should  not  be  ]iut  on  until  the  underlying  color  is  almost  dry.  or  if  a  very 
vigorous  sharp  line  is  wanteil,  then  not  until  they  are  ])erfectly  dry. 

After  the  light  sid.es  of  the  rocks  have  been  laid  in,  paint  the  shaded 
side  with  the  bluish,  greenish  and  purjilish  tints  blended  into  each  other 
and  given  a  rough  and  ragged  outline  where  they  tnuch  and  blend  into  the 
lights,  .\fter  shaded  sides  are  almost  dry  put  in  cracks,  holes  and  depres- 
sions with  dark  purples  and  brownish  blacks  in  deejiest  shadows.  If  re- 
flected lights  show  in  the  shaded  [larts  they  should  be  [lUt  in  with  a  light 
grayish  blue  tint,  .\fter  having  completed  \(iur  table  rock  to  your  satis- 
faction, roll  it  up  and  put  a  new  ])iece  of  muslin  on  your  frame,  size  it  and 
when  dr\^  sketch  in  with  charcoal  the  outlines  of  a  left  tail  rock  (Fig.  2. 
I'late  8).  Taint  in  a  similar  w;iy  to  that  described  above  and  when  com- 
])leted  take  it  off.  fix  tip  a  new  ninslin  .nnd  design  a  right  t;iil  rock  and  p;iint 
same  as  before. 


MODERN  AND  ANCIENT  WALLS  OF  STONE  AND  BRICKS. 


Having  completed  our  studies  ol  rocks,  we  shall  now  apply  some  of  the 
attained  knowledge  of  making  rough  textures,  and  oin^  next  jiroblem  to 
solve  will  lie  the  ])ainting  of  large  st(jnes  with  "rock  linish"  surfaces,  as 
they  appear  in  some  kinds  of  stone  w.alls  ;ind  old  castles  and  jirisons.  l-'ig.  2, 
I'late  8,  shows  two  sections  of  set  piece  of  a  modern  stone  wall  of  yellow 
sandstone  with  white  marble  pillars,  Ivasc  and  co])ing.  The  iron  gates  have 
lieen  removed  iuit  will  be  spoken  of  in  a  later  cha])ter.  -Stretch  a  ])iece  of 
muslin  on  }'our  ])ainl  fr.ame,  size  it  in  and  sketch  in  the  nutline  of  w;ill  with 
charcoal,   using  a    straight    edge.      It    will   not    \)v   necessary    to   indicate   the 


PLATE  8. 


single  sandstones  in  the  outline  sketch,  as  the  whole  space  occupied  by  them 
will  have  to  be  painted  in  solid,  and  the  stones  outlined  on  this  ground  color. 

Have  the  perspective  vanishing-  point  in  the  middle  of  the  opening  and 
draw  all  of  the  receding  lines  of  gate  posts  down  and  up  tuward  this  point. 
When  your  outline  sketch  is  completed,  mix  some  white  and  tint  it  in  dif- 
ferent colors  with  a  trifle  yellow,  a  trifle  red  and  green,  just  enough  to  give 
the  white  some  delicate  shades  ;  paint  the  marble  with  these  light  tints  and 
blend  the  edges  of  the  tints  well  together  so  as  to  obtain  a  soft  clouded 
effect.  Mix  a  yellow  consisting  of  vellow  ochre,  a  trifle  burnt  umber  and 
sienna  and  white.  Have  also  a  darker  grayish  tint  of  a  similar  color  and  a 
warm  reddish  one  with  more  Inirnt  sienna  in  it.  Lay  these  three  shades  in 
the  spaces  reserved  for  the  sandstones  and  blend  them  well  together  so  as 
to  ol)tain  a  clouded  effect.  \\'hen  perfectly  dry  emphasize  here  and  there 
with  a  dot  and  broken  ragged  line  to  represent  the  unevenness  and  marks 
of  the  stone  cutter's  chisel  on  the  stones,  using  your  two  darker  tints  for 
this.  Next  outline  the  separate  stones  with  charcoal.  Next  paint  the  di- 
viding lines  between  the  stones  with  a  purplish  brown  color,  giving  the  line 
a  broken  and  somewhat  uneven  appearance  that  mortar  lines  between 
roughly  hewn  stones  always  have,  l-'inally  highlight  the  top  and  left  side 
of  stones  with  a  broken  outline  of  a  cre;iniish  white,  outline  same  sides  of 
marble  with  a  straight  line  of  ]nire  zinc  white  and  then  shade  opposite 
side  with  bluish  lavender.  Having  completed  your  first  scenic  model  of  wall 
set  piece,  make  one  more,  this  time  changing  color  of  stones  and  make 
gate  post  of  large  brownish  stones. 

The  ne.xt  problem  will  be  the  jjainting  of  an  old,  half  crumbled  down 
brick  wall,  covered  with  remnants  of  plaster  antl  having  an  arched  door  in 
the  middle.  The  top  of  the  wall  is  C(_)vcred  with  red  tiles  and  jjarth'  covered 
with  overhanging  vines.  Use  muslin  for  model  of  this  design  (Fig.  3,  Plate 
8),  size  same  and  sketch  in,  as  usual  drawing  an  outline  around  all  places 
where  brick  shows  through  plastering.  For  the  plaster  use  tints  similar  to 
white  marble,  only  do  not  blend  them  quite  so  much  together ;  where  shad- 
ows from  foliage  fall  on  plastering  it  should  be  painted  bluish  lavender. 
For  bricks  paint  a  ground  coUjr  of  reddish  orange,  Italian  red  and  purplish 
red,  blend  together  in  clouded  effects.    Use  medium  red  for  top  tiles. 

For  the  door  use  a  light  brown  made  of  burnt  sienna,  yellow  ochre,  and 
a  little  white.  This  color  should  blend  softly  into  an  olive  green  shade  at 
lower  part  of  door.  For  hinges  use  a  bluish  green,  outline  these  on  top  with 
blue  and  shade  with  purplish  black.  Use  dark  \'an  Dyke  brown  for  lines 
between  Ijoards  in  door.     For  shadow  of  wall  on  door  use  an  olive  green. 


Outline  lower  edges  of  liroken  plaster  and  lines  between  liricks  and  laroe 
stones  at  bottom  with  a  deep  purple.  Make  large  stones  a  greenish  grav. 
finishing  them  as  explained  before.  Use  a  creamish  white  for  mortar  show- 
ing here  and  there  between  the  bricks.  Paint  bush  and  vine  as  a  light, 
reddish  green,  and  when  this  is  dry  lay  on  leaves,  light  yellowish  green  on 
top.  and  darker  bluish  green  in  shaded  parts  to  the  right  and  below.  After 
having  completed  the  first  model  nf  old  wall  set  ])iece.  make  ime  more, 
ch.ansjinr;'  the  desio'ii  and  the  cnlur  scheme. 


PRISON  DROP. 


In  this  lessnn  we  shall  nnly  consider  the  interior  of  an  .\meric;in  prison. 
The  cild  wtirUl  dungeon,  with  its  j)illars  and  arched  ceiling,  is  of  course  a 
great  deal  more  artistic.  l)ut  also  a  great  deal  harder  to  jjaint,  and  will  not 
be  treated  until  later  in  this  work,  h'ig  1,  Plate  9,  sh<iws  a  back  drop  of 
an  ordinarN'  ])rison.  Windows  and  dooi-s  can  be  made  ])ractical,  if  so  desired, 
and  the  drop  mounted  on  three  or  more  slats,  but  in  this  lesson  we  shall 
only  consider  it  as  a  model  of  a  s(jli<l  back  drop  to  go  on  rollers  and  bat- 
tens. Tack  on  and  si/c  a  piece  of  muslin  and  sketch  in  outlines  of  door, 
windows,  arch  and  ])illars.  The  t'lickness  of  pillar<  and  arch  is  seen  in  the 
j)ers])ective  counted  from  a  \anishiiig  point  in  nnd<llr  of  door,  .\fter  the 
outlines  have  been  sketched  in.  cover  the  space  of  the  stone  work  with  two 
or  three  tints  of  yellowish  gra_\',  brownish  yellow  and  bluish  or  greenish 
grav.  Use  same  tints  for  ])illars,  smaller  arches  over  windows,  and  larger 
arch  over  door.  Init  lighting  space  around  door  up  to  pillars  and  arch,  the 
tints  should  be  darkeneil  with  some  burnt  umber,  'idle  tints  shoidd  be  [)Ut 
in  soft  cloud  effects  ;ind  l)e  blended  together  some.  Xext  lay  in  thickness 
of  walls  shown  around  windows  with  a  \ellowish  white,  using  ytdlow  ochre 
and  not  chrome  yellow. 

Model  shows  light  to  come  from  upju-r  left  corni'r.  This  is  an  iin.ag- 
inary  light,  as  the  room  in  realitv  obtains  its  light  Irom  the  three  windows 
shown,  but  this  illustration  if  carried  out  correctly  would  m.ike  the  problem 
of  shading  too  com]ilicateil  lor  the  beginner,  hence  the  im;iginary  source  of 
light. 

The  space  behiml  the  bars  in  three  upper  windows  shouH  be  made  a 
light  blue  sky  color.  I  he  I)ars  themselves  should  be  painted  bluish  black. 
Sjjace  behind  bars  in   window   in   steel  door  should   be  made   with   a  yellow- 


ish  tint.  'I'lie  ddur  tn  he  paiiiteil  in  'l:irk  Mnisii  and  Mnisli  Mack  tints,  l>k'n(l- 
cil  siimewhat  tdi^ctlKT  ami  paintcil  to  run  u])  anfl  down  with  straight  ver- 
tical strokes  o(  the  hriish.  Steel  bars  crossing'  door  are  light  hhiish  with, 
white  highlights  through  middle  and  bluish  black  shade  below.  Rivets  and 
bolts  have  a  half-moon  shape,  light  blue  highlight  on  upper  left  side  and  a 
corresponding  shade  of  bluish  Idack  or  lower  and  right  side.  When  ground 
color  for  stone  work  is  dry.  sketch  in  sti.ines,  tising  a  straight  edge.  Sepa- 
rate stones  with  brownish-jiuriilish.  ragged  outline  here  and  there,  giving 
this  line  a  lot  of  color  in  the  corners,  and  putting  a  few  dots  and  ragged 
lines  here  and  there  on  the  stt)nes  to  indicate  roughness  and  marks  of  drill 
and  chisel.  The  light  inside  of  arch  slioid<l  be  yellowish  gray,  the  dark  side 
purplish  gray.  Some  of  the  stones  should  be  highlighted  on  U])|)er  .and  left 
side  with  a  \ellow  white,  and  the  shadows  and  shades  should  be  painted  a 
iiurplish  gray.  After  having  completed  your  first  model  of  a  ])rison  drop, 
make  one  more,  changing  design  to  suit. 


EXTERIORS  OF  OLD  CASTLES. 


Fig.  2.  I'late  9.  shows  the  ramparts  and  battlements  of  an  old  mediaeval 
castle  or  fortress.  Size  in  ;i  sheet  of  muslin  and  start  to  sketch  in  outlines 
of  castle,  as  shown  in  cut.  Next  mi.x  the  colors  for  the  sky.  starting  it  a 
deei)er  blue  and  running  it  down  to  a  lighter  greenish  blue,  running  into  a 
])ale  yellow  at  and  above  the  hori/.on.  The  clouds  should  be  blended  in  soltly 
while  tlie  sky  is  wet,  their  upper  and  left  edges  to  lie  cream  colored,  getting 
a  little  deeper  as  they  get  nearer  to  the  horizon.  The  lower  right  side  of 
clouds  to  be  a  pale  lavender. 

The  light  on  the  castle  is  coming  from  the  upper  left-hanil  corner.  The 
wall  to  the  left  should  be  painted  in  lighter  tints  of  yellowish,  brownish  yel- 
low .nKl  greenish  gray,  the  remainder  of  lower  walls  in  deeper  lints  of  the 
>ame  hues.  The  protru<ling  walls  throw  shadows  to  the  right  that  are  still 
deeper  on  the  brownish-purplish  order.  The  stones  do  not  show  as  prom- 
inently and  sharply  defined  as  in  the  prison  and  should,  therefore,  be  indi- 
cated with  deeper  colors  here  and  there  while  ground  color  is  still  wet. 
The  towers  should  be  shaded  and  the  tints  blended  softly  so  as  to  make 
them  look  round.'  I  laving  their  lightest  shade  a  little  olT  the  middle  and  to 
the  left  and  the  darkest  shade  ojjposite  to  light,  but  on  right  side  of  tower. 
There  is  also  a  darker  shade  oj^posite  to  light,  but  on  riglit  side  of  tower, 


and  a  darker  shade  falling  frcnii  under  the  curnice  uf  the  top  l)attlements. 
Notice  in  cut  how  the  light  and  shade  of  cut-out  loopholes  in  top  battle- 
ments change  according  to  location.  After  the  whole  fortress  has  been 
painted  over,  highlight  here  and  there  with  lighter  color  and  emphasi-ze 
rouglniess  of  stones  in  a  few  places  witli  a  brownish  purple.  The  castle  is 
set  on  a  rock  foundation  and  this  should  be  painted  as  an  orilinary  tail 
rock,  described  in  a  previous  chapter.  The  rocks  should  be  lighter  over  left 
side  and  darker  up  under  right  side  of  castle.  Down  in  the  foreground  is 
seen  some  tall  grass.  This  has  first  a  ground,  painted  in  blended  tints  of 
olive  green  and  brownish  green ;  where  partly  green  a  few  clusters  of 
bright  bluish  green.  The  blades  of  grass  are  painted  on  \\ith  a  long  sweep- 
ing stroke  of  a  small  flexil)le  brush,  and  when  fully  dry  it  is  retouched  here 
and  there  with  clusters  of  grass  and  weeds,  painted  in  light  yellowish  and 
grayish  green. 


PLATE  9. 


liilfereiit  brush  in  every  color  and  lay  on  tints,  keeping  them  separated  while 
Avet,  run  a  trifle  together  with  a  clean  brush,  giving  the  appearance  of  grow- 
ing grass  and  shrubbery.  Xext  paint  in  a  few  dark  green  and  brown  patches 
with  a  smaller  brush,  but  do  not  get  them  too  sharp  or  distinct.  Left  fore- 
ground should  be  painted  all  over  in  a  dark  green  and  brown  and  when 
partly  dry  the  light  should  be  put  on  with  light  greens,  light  grays  and  light 
browns.  When  perfectly  dry  the  highlights  on  rocks,  the  creamish  white 
trunks  of  the  l)irch  trees  should  be  put  on  with  a  smaller  l)rush.  the  blacks 
on  same  accentuated  and  the  dark  greens  and  l)rinvns  of  foliage  put  on 
wdien  background  is  dry.  The  foliage  should  be  highlighted  with  light  olive 
green.  Be  sure  to  use  a  slender,  spring)-  brush  to  give  the  efifect  of  foliage. 
For  the  river  use  a  light  cream  color  and  rub  this  while  still  wet  into  streaks 
of  deeper  yellowish  orange  :  also  shade  under  clitYs  and  shores,  using  burnt  um- 
ber and  dark  greens.  The  stroke  of  the  brush  should  be  parallel  with  lower 
edge  of  paint  frame.  For  rocks  and  shrubbery  in  right  of  foreground  use  a 
background  of  burnt  umber  with  a  trifle  purple  for  rocks  and  deeper  green- 
ish blue  for  foliage.  When  jjartly  dry  jjaint  in  lights  with  white  and  yel- 
lowish mixed  with  liuriit  umlier  ;  strongest  lights  left  to  be  painted  on  when 
other  colors  are  dry  and  should  l)e  put  in  with  smaller  brush  in  a  light 
l)lue  and  should  be  painted  in  a  similar  manner  to  those  at  left.  When  the 
whole  picture  is  painted  and  finished  look  it  over  critically  and  where  it  appears 
wrong  in  color  try  to  correct  this  b}-  scrumbling.  rul)l)ing  opaque  white  color 
over  with  washes  of  transparency. 

Next  obtain  a  few  colored  studies  of  moimtain  scenes  and  copy  them 
faithfully.  After  this  practice  select  about  three  or  four  black  and  white 
illustrations  of  mcnnUain  scenes  and  make  colored  scenerv  models  in  dis- 
temper colors  from  them.  Finally  compose  designs  of  three  or  four  original 
rocky  pass  settings  from  motifs  taken  from  tlie  different  scenes  you  have 
copied.  Keep  a  collection  of  )-our  rocky  pass  scenery  models  to  be  copied 
when  receiving  orders  from  actual  scenerv  of  this  kind. 


I 


DESERTS. 


A  desert  scene  is  not  used  very  often  in  ordinary  ])roductions,  but 
nevertheless  you  should  know  how  to  make  these  settings  if  called  upon  to 
do  so.  Often  when  a  phi)  re(|uires  a  desert  scene,  the  desert  proper  is 
painted  on  the  back  drop  and  seen  through  cut  antl  netted  leg  dro[)  repre- 
senting troiiica!   vegetation.      As   tiic    student    will   be    taught    how    to   ])aint 


this  kind  of  scenery  later  on.  we  shall  in  this  lesson  only  concern  ourselves 
with  a  i)lain  desert  scene  painted  on  a  solid  tlrop. 

The  sky  in  a  tropical  country  is  deeper  blue  than  in  the  North,  and 
supposing  our  scene  to  represent  the  famous  African  desert,  Sahara,  we  shall 
first  sketch  in  a  low  ridge  of  distant  mountains  running  across  the  whole 
width  of  the  canvas  and  divide  this  into  equal  parts,  the  one  above  the 
niiiuntains  to  rei)resent  the  sk_\-  and  the  one  below  the  desert. 

Over  the  left  in  the  foregrtnmd  can  be  sketched  in  a  protruding  rock, 
a  couple  of  skulls  and  ribs  of  dead  animals ;  to  the  right  in  the  middle 
distance  we  may  have  a  couple  of  pyramids  or  a  sphinx  half  buried  in  the 
sands.  The  sky  should  be  painted  with  no  clouds,  starting  with  ultrama- 
rine, then  running  through  an  Italian  blue  to  a  light  emerald  green  into 
a  light  cream  behind  the  lavender  colored  mountains  that  are  seen  in 
silhouette  against  the  sky.  For  the  color  of  the  same  use  a  light  cream  in 
tlie  far  distance.  Bring  this  down  to  a  warmer  tint  in  the  middle  distance 
and  make  it  still  warmer  and  a  trifle  darker  in  the  foreground.  All  objects 
should  have  lavender  colored  sh:ides  and  shadows,  the  lighter  in  the  dis- 
tance and  darker  in  the  foreground.  Make  three  or  four  different  studies 
of  deserts  as  described  above.  Change  t!ie  scene  in  some  of  them  to  New 
Mexico  alkali  lands  with  low  moimtains  and  ridges  or  crevasses  in  the 
limestone  ground,  which  should  be  si)aringly  covered  with  bluish  green 
sagebrush   and   a   large-leafed   cactus   in   the    foreground. 


SEA,  WATER,  MARINE. 


An  ocean  <lr(ip  is  generally  included  in  a  scenic  outtit  lor  opera  house 
])la\ing  re])ertoire  shows.  When  making  scenery  models  in  distemper  col- 
ors of  an  ocean  droj)  divide  ymir  cainas  almost  in  the  middle:  paint  a  plain 
or  cloudy  sky  in  the  upper  part  and  the  ocean  in  the  lower  part.  Start  with 
an  ultramarine  tint  against  the  horizon  ;  lead  this  into  a  light  blue,  then  into 
a  greenish  blue  that  gets  darker  green  toward  the  bottom.  All  of  these 
tints  shuuld  be  parallel  with  the  horizontal  lines  and  will  blend  into  each 
other. 

When  colors  are  partly  wet,  some  darker  parallel  lines  made  with  a 
small  brush  can  be  laid  on  the  ground  work  at  top  of  ocean.  As  you  go 
farther  down  this  should  be  longer  and  deeper,  a  tritle  farther  apart  and 
gradually  assuming  the  form  of  waves.      These  should  be  made  larger  and 


darker  in  the  foreground  and,  supposing  the  sea  is  rough-crested  with  white 
foam,  that  should  be  daubed  on  with  a  round  brush  while  underlying  color 
is  damp  and  then  highlighted  with  pure  white  when  dry.  Make  several 
models  of  sea  and  water.  If  }ou  live  near  a  large  body  of  water,  go  out 
sketching  and  make  your  sttidies  directly  from  nature.  If  you  live  in  an 
inland  town  obtain  a  good  collection  of  marine  studies  in  colors  and  copy 
these.  "Water  rows"  are  set  pieces  set  across  in  front  of  drop  so  as  to  allow 
property  boats  to  be  handled  behind  them  which,  when  seen  from  the  audi- 
ence, will  appear  as  sailing  on  the  water.  They  are  movmted  on  profiled 
tops.  The  "water  row"  nearest  the  proscenium  is  generally  painted  to  rep- 
resent a  part  of  the  shore  or  beach.  The  rest  of  the  "water  rows"  are  to 
be  painted  similar  to  lower  edge  of  back  drop.  If  a  stormy  sea,  the  fore- 
most waves  should  be  made  into  breakers  that  roll  over.  Moonlight  effect 
on  the  water  scenes  can  1)e  made  in  dift'erent  ways  that  will  be  explained 
in  a  chapter  dealing  with   transparencies   and  transformation   scenes. 

Spend  a  great  deal  of  time  and  study  in  this  lesson,  as  it  requires  more 
originality  of  conception  than  former  problems.  If  there  is  no  large  body 
of  water  near  the  place  where  you  live,  you  can  easily  find  some  pond, 
lake  or  brook,  in  which  you  can  study  reflections  in  water  and  obtain  a 
fair  idea  of  how  smaller  bodies  of  water  should  be  painted  on  theatrical 
scenery  when  such  representation  is  reciuired. 


CHAPTER  FIFTEEN 


PLAIN  CHAMBERS. 


plain  chamber,  often  called  a  "kitchen"  among  theatrical  people, 
is  a  setting  representing  a  bare  room.  If  the  scenery  is  not  being 
made  for  some  special  production,  but  as  house  scenery,  it  is  best 
not  to  make  it  look  dilapidated  and  plaster  should  not  be  represent- 
ed as  cracked  and  peeled  ofif,  showing  the  lath  below.  We  shall  first  consider 
the  ordinary  plain  room  as  found  among  the  house  scenery  of  the  ordinary 
theaters  and  opera  houses. 

Interior  settings  in  smaller  houses  and  in  most  moving  picture  theaters 
are  often  hung  the  same  way  as  exteriors  ;  that  is,  the  back  drop  goes  on 
rollers  or  battens  and  the  wings  move  in  grooves.  In  more  pretentious 
houses  all  interior  settings  are  made  as  box  settings  in  flats  mounted  on 
frames  and  held  in  place  by  stage  braces  and  screws.  We  shall  devote  a  few 
words  to  the  mounting  of  interiors  before  we  proceed  to  give  directions 
for  the  painting  of  same. 

If  a  drop  is  supposed  to  roll  up,  it  is  secured  to  a  top  batten  made  of 
two  pieces  of  three-inch  clear  white  pine  boards,  that  are  nailed  together 
on  either  side  of  top  edge  of  scene. 

The  floor  edge  of  scene  is  fastened  to  a  roller  which  can  be  a  hollow 
or  skeleton  roller.  Lengths  of  gas  pipes  are  often  used  for  bottom  battens. 
The  drop  is  then  hoisted  up  by  ropes  running  through  pulleys.  The  wings 
work  in  groove  boxes  that  arc  fastened  at  either  side  of  stage,  slanting 
awav  from  front.  If  setting  is  to  be  boxed  in  it  should  be  cut  up  in  "flats" 
and  these  should  have  practical  doors  and  windows. 

.\11  flats  are  mounted  on  three-inch  white  pine  frames  and  can  be  put 
ni  place  as  described  and  secured  with  stage  braces  and  lashing  ropes. 

We  shall  now  start  to  paint  models  of  a  back  drop  for  a  plain  chamber 
setting,  the  wings  to  be  painted  in  a  similar  manner,  having  one  practical 
window  and  two  practical  doors. 


First  put  muslin  on  paint  frame  and  size  in  the  usual  manner.  Next 
sketch  in  scene,  following  the  dimensions  of  the  illustration,  and  use  a 
straight  edge  for  all  short  straight  lines  and  a  chalk  line  for  all  limg  hori- 
zontal lines  and  a  plumh  line  for  long  vertical  lines,  when  _\ou  come  to  make 
the  scene  in  actual   size. 

The  wall  proper  should  be  made  of  dull  yellow,  made  of  yellow  ochre, 
■whiting  and  a  little  burnt  sienna.  The  space  shown  above  picture  moulding 
shcjuld  be  made  a  trifle  lighter,  omitting  the  burnt  sienna  and  using  more 
white  in  the  color.  The  woodwork  should  be  painted  to  indicate  wood,  and 
three  shades  of  dark  oli\e  green,  a  Ijrown  and  a  dirty  light  red  should  be 
blended  into  each  otiier  on  the  canvas,  having  strokes  nf  the  l)rush  follow 
the  directions  that  the  grain  of  the  wood  would  naturally  run.  The  sky, 
through  panes  in  window,  should  be  painted  a  light  blue,  getting  lighter 
toward  the  liottoni.  When  the  woodwork  is  dry  it  can  be  grained  in  places, 
showing"  a  knothole  here  and  there ;  this  should  be  done  with  a  small,  well- 
pointed  brush.  Graining  color  should  be  darker  than  background  in  light 
places  of  wood,  and  light  in  dark  places.  Finally  everything  should  be  out- 
lined on  top  and  left  side  with  a  strong  light  red,  made  of  orange  mineral 
and  zinc  white,  and  then  shaded  on  all  lower  and  right  sides  with  l)lack  and 
very   blackish   pur]jle. 

Set-in  jjanels  in  doors  receive  the  light  and  shade  just  opposite.  In 
finishing  up  the  lines  the  boards  in  wainscoting  should  be  separated  with 
black  line  and  have  a  trifle  red  on  them  here  and  there.  This  finishes  the 
model,  which  is  very  easy  to  make,  and  so  is  the  finished  setting  in  actual 
size.  If  used  .hs  a  box  setting,  the  flat  shuuld  have  two  practical  doors  and 
one  or  two  windows.  Make  the  models  of  a  ]jlain  chamber  setting,  only  in 
one  indicate  loose,  dirty  plaster  instead  of  an  even  wall.  This  is  obtained 
by  using  three  colors,  a  dirty  light  brown,  a  dirty  yelluw  and  a  green.  Rub 
these  into  each  nther  in  a  s(]rt  nf  cloud  elYcct  when  ])ainting  them  on 
wall  space  On  third  model  you  should  use  same  plaster  elYect,  but  have  it 
cracked  in  places  and  peeled  off  so  that  lath  will  show  below.  Outlines  of 
plaster  should  be  highlighted  with  a  rough  broken  line  in  white.  Lath  is 
painted  in  a  dirty  yellow,  set  a])art  with  a  broken  dark  brown  line,  with 
splashes  of  white  here  and  there. 


PLAIN  CABINS. 


By  a  cabin  is  meant  either  the  interior  of  an  old  log  cabin  showing  the 
logs  in  place  of  plain  walls  of  the  chamber,  or  interiors  of  wooden  shanties, 


I?"^    W**-"^  ^>-^?8WP»»       - 


»l?fi.AQIM  (?>^lSllL(o)l?^'> 


\ 


showing  the  studding,  with  loose  boards  nailed  to  the  outside.  Both  are 
comparatively  easy  to  paint.  In  the  log  cabin  interior  make  window  smaller 
than  in  plain  chambers  and  give  it  a  rough  frame.  Let  door  represent  one 
roughly  put  together  of  boards  with  a  "Z"  shaped  brace  and  hung  with  a 
strap  hinge.  The  logs  can  cither  be  shown  with  round  sides  or  be  repre- 
sented as  having  been  roughly  trimmed  with  an  ax. 

They  should  be  j)ainted  to  look  as  if  clay  were  put  in  between 
them  to  close  u])  all  cracks  and  make  the  room  air  tight.  For  interior  of 
shanties  you  will  be  able  to  find  a  good  model  in  woodsheds,  sawmills  and 
outhouses  and  the  like.  Copy  these  directly  from  nature,  in  colors  if  pos- 
sible, and  make  two  models,  one  of  a  log  cabin  and  one  of  a  shanty  interior. 


PLAIN  PARLORS. 


The  professional  theatrical  technical  name  for  a  parlor  setting  is  "cen- 
ter door  fancy,"  and  such  a  setting  consists  of  a  piece  often  called  "arch," 
which  has  a  large  opening  and  often  is  made  to  fold  in  the  middle,  and  other 
flats  which  are  called  either  plain  flats,  door  flats,  fireplace  flats,  window 
flats,  jogs,  etc.  In  smaller  theaters  the  setting  generally  consists  of  a  back 
drop  with  a  double  door  in  the  center  and  four  or  six  wings  on  the  sides. 

We  shall  now  describe  the  painting  of  a  back  drop  for  a  plain  parlor 
setting;  the  one  illustrated  is  of  the  early  colonial  or  empire  period  and  very 
artistic.  Almost  any  tasteful  color  scheme  can  be  used  and  you  need  not 
confine  yourself  to  the  one  described  in  this  lesson.  First  find  middle  of 
your  canvas.  Drop  a  vertical  line  through  this,  dividing  space  in  two  ecjual 
halves.  Then  set  oft  lines  for  footboard,  panels,  wainscoting,  wall  pictures, 
molding  and  borders.     Draw  horizontal  line  through  these  points. 

Then  set  off  door  and  draw  it  in  correctly,  lieing  careful  to  get  all  panels 
true  and  square.  When  scene  is  all  sketched  in,  mix  a  pink  of  zinc  white, 
tinted  with  a  trifle  oriental  red.  turkey  red  or  magenta  lake. 

Paint  space  over  picture  molding  with  this  tint.  \\'hen  this  is  dry  you 
can  sketch  in  garland  of  flowers ;  as  this  design  is  a  repetition  of  a  vmit, 
time  can  be  saved  when  you  have  to  paint  the  scene  in  actual  size  for  prac- 
tical purpose  to  make  a  "I'ounce  pattern"  on  a  strong  oil  manila  paper. 
This  pattern  can  be  made  as  follows :  Take  a  sheet  of  ordinary  white  paper, 
a  little  larger  than  one  unit  of  the  pattern,  double  this  paper  in  the  middle 
and  on  one  side  of  it  draw  in  outline  half  of  a   flower  garland,  witii   half 


of  the  pendant  hanging"  down  between  them.  Pounce  this  pattern  with  a 
hot  pin  or  large  darning  needle.  When  unfolded,  this  sheet  will  give  you 
the  pattern  of  the  full  garland.  Make  a  l)ag  of  double  thickness  of  cheese 
cloth :  till  \vith  some  dry  color,  for  instance,  luirnt  sienna ;  this  color  will 
rul)  through  the  holes  in  the  pattern  am'  transfer  a  dotted  outline  unto  the 
sheet  of  manila  paper.  Go  over  these  lines  with  a  lead  pencil  and  rul>  the 
paper  lightly  with  smooth  sandpaper,  which  will  prevent  holes  from  clos- 
ing. The  perforated  pattern  can  now  be  pounced  on  the  scene,  using  dry 
color  in  a  bag  as  before.  This  process,  descril)ed  here  in  detail,  should  be 
resorted  to  whenever  "pounce  patterns"  are  called  for  in  the  future,  but 
when  making  small  models  for  studies  you  should  sketch  all  patterns  di- 
rectly on  your  canvas,  even  if  they  are,  as  in  the  case  mentioned  above, 
repeaters  of  some  certain  unit.  After  having  obtained  a  good  outline  of  the 
full  length  oi  garlands,  start  to  paint  all  the  flowing  ribbons  in  a  light  l_)lue, 
shade  these  with  dark  blue  and  highlight  with  white  tinted  with  a  little 
blue.  Next  paint  your  flowers.  I""or  roses  use  a  light  jiink  liackground. 
when  this  is  dry  make  a  deej)  tkirk  red  depression  about  middle  nl  flower, 
and  shade  dark  part  of  flower  with  this  deeji  rose  cokjr  and  highlight  with 
white,  retaining  the  form  of  a  rose,  which  should  be  studied  from  nature. 
The  other  flowers  can  be  made  to  represent  daisies  or  black-eyed  susans. 
The  leaves  toward  the  outside  of  garland  should  be  painted  a  light  green, 
those  in  middle  a  stronger,  more  olive,  green.  \N'hen  dry,  retouch  with 
brriwn  and  purple  in  shaded  places,  under  ribl:)(ins  and  flowers. 

The  molding  running  l)elciw  liorder  is  supposed  to  represent  a  carved, 
gih  molding,  it  should  lie  painte<l  nver  first  with  a  flat  gold  ground,  mixed 
with  Dutch  pink  and  a  trifle  burnt  sienna.  W'iien  this  is  dry  and  wall  be- 
hnv  has  been  painted,  divide  molding  in  the  middle,  and  in  the  lower  part 
sketch  in  an  "egg  staff,"  consisting  of  egg  shaped  ovals,  highlighted  and 
outlined  on  tiie  left  with  a  pale  yellow  made  of  lemon  with  a  little  zinc 
white,  and  shaded  on  the  right  side  with  two  jKir.illcl  lines  of  dark 
brown,  Van  Dyke  brown  or  l)urnt  sienna. 

Top  part  of  molding  should  be  "flashed  up"  with  brown  or  burnt  sienna. 
Bottom  part  of  molding  shoidd  be  "flashed  up"  with  flashes  of  light  yel- 
low at  certain  intervals.  In  the  middle  of  these  flashes  paint  one  or  two 
s(iuares  of  solid  yellow,  then  take  l)rusii  full  of  color  and  drag  brush  out 
from  center  until  it  is  almost  empty  of  color,  and  this  will  give  a  graduated 
flash  of  yellow  fading  into  the  gold  ground.  Outline  molding  on  top  with 
two  parallel  lines  of  yellow  and  shade  above  egg  staff  and  below  molding 
with  brown  lines.  Next  paint  wall  space  in  some  appropriate  color,  for 
instance,  light  pea  green  made  of  chrome  green  mixed   with   whiting. 


When  dry  lay  in  a  strip  and  make  or  buy  some  appropriate  design  that 
will  fit  in  the  top  space  betAveen  the  strips.  In  order  to  stencil  successfully 
on  scenery  a  soft  brush  and  a  stiff,  thick  color  should  be  used.  With  a 
little  practice  you  will  soon  be  able  to  put  on  a  stencil  pattern  with  clean, 
sharply  defined  outlines  \Mien  making  small  models  these  patterns  should 
either  be  painted  free  hand  or  a  small  stencil  pattern  could  be  used.  Next 
paint  all  of  the  wood  an  old  ivory,  made  of  whiting  slightly  tinted  with  a 
trirte  chrome  }-ellow.  Frame  around  door  should  be  a  little  lighter  than 
frame  around  duor  ]janels  and  wainscoting  panels.  Paint  the  j)anes  a  very 
light  green,  several  shades  lighter  than  the  wall.  In  panel  over  door  paint 
an  appropriate  landscape,  either  copied  from  one  of  your  original  sketches 
from  nature  or  from  other  colored,  tasteful  art  studies. 

Finally  line  all  \vi)odwork  with  pure  zinc  white  on  top  and  left  side 
and  reddish  purjile  on  bottom  and  right  side.  Panels  that  are  set  in  should 
be  outlined,  that  is,  dark  on  left  and  top  side  and  light  on  right  and  bottom 
side.  The  second  lining  on  panels  goes  the  same  way  as  the  ordinary  out- 
lining. .All  this  outlining  should  be  done  with  a  small  brush,  using  a  lining 
stick  with  a  beveled  edge  and  a  handle  in  the  middle.  When  all  the  outlining 
is  done  look  your  model  over  well  and  see  if  it  reepiires  an\-  more  finish- 
ing touches,  and  when  linall_\'  completed  to  _\our  satisfaction  start  to  make 
two  or  more  models  of  a  back  drop  for  a  plain  parlor  setting,  changing  the 
design  and  color  scheme  each  time,  and  in  one  of  these  models  place  a 
large  French  window  in  the  middle  instead  of  the  center  door. 


CHAPTER  SIXTEEN 


FANCY  INTERIORS.    PALACES. 


ROM  the  plain  to  the  fancy  interior  is  a  short  step  ami  the  jnipil 
who  can  paint  a  plain,  tasty  interior  will  soon  learn  the  additional 
ornamentation  of  detail  required  for  the  so-called  "fancj'  interior" 
setting  that  always  is  found  in  the  house  scenery  of  even  the  less 
pretentious  theaters.  In  this  chapter  is  shown  a  small  reproduction  of  a 
fancy  interior  setting,  in  modified  Rococco  style,  and  we  shall  now  explain 
how  to  paint  a  scenery  model  from  this  design.  The  same  methods  as 
described  here  should  be  used  when  working  on  a  large  scale  in  the 
studio  or  on  the  paint  bridges,  onlv  that  a  chalk  line  should  he  used  for 
all  straight  lines  in  place  of  a  ruler  and  a  straight  edge,  which  can  be 
used  when  making  a  small  model.  First  size  }our  muslin  or  canvas  in  the 
usual  way ;  then  find  middle  of  sam«  and  draw  a  plumb  line  down  through 
it.  Then  i)lumb  the  other  two  edges  of  canvas  and  set  off  a  top  and  bottom 
line  of  scene,  scjuare  with  these  plumb  lines,  measure  off  j)oints  for  all  hori- 
zontal lines  in  the  bottom  panels,  all  vertical  lines  of  door  and  ])ancls,  and 
draw  these  with  straight  lines  from  toj)  to  bottom.  The  printed  niddel  slinws 
also  a  ceiling  cloth  with  ornamental  gold  border  in  Rococco  style.  Ivococco 
style,  also  called  "Baroque"  style,  came  in  vogue  in  the  middle  and  latter 
part  of  the  eighteenth  century  and  was  brought  to  its  greatest  perfection 
during  the  reign  of  the  J""rench  kings,  Louis  Xl\"  and  XV.  Later  it  became 
degenerated  and  too  loaded  with  bizarre  and  grotesque  ornamentation  until 
it  died  out  during  the  French  revolution  and  was  succeeded  by  the  pure 
and  simple  Empire  style,  of  which  our  Colonial  style  is  a  modified  form  and 
which  takes  most  of  its  motifs  from  old  Greek  sculpture  architecture,  while 
the  Rococco  style  obtains  its  name  frcmi  the  b'rench  word  "recaille,"  mean- 
ing an  oyster  shell.  This  combination,  together  with  the  letter  "C,"  forms 
a  leading  motif  in  this  jjarticular  and  magnificent  style  that  always  abounds 
in  richly  gilded  ornament  in  graceful  swung  curves,  and  is  especially  well 
adapted  to  the  large  and  brilliant  apartments  of  royal  castles  and  chateaus. 


PLATE  1 2. 


^*3i?> 


Only  the  larger  theaters  use  sulid  eeiling-  clrjth,  sus])eiiile<l  over  their 
l)iixe(l-in  interior  settings,  and  we  shall  advise  yoti  to  use  the  border 
directly  on  this  back  drop  and  w  ings  or  flats,  as  the  case  may  be.  It  can 
also  lie  painted  on  sejjarate  interior  borders.  (For  construction  of  these 
see  chapter  on  construction  later  on.)  .\fter  all  vertical  and  horizontal 
.straight  lines  have  been  <lra\\ii  in  their  true  proportions,  the  half  circle- 
over  door  should  be  put  in  and  all  ornamentation  showing  curved  lines 
sketched  in  either  free  hand  or  by  tlic  use  of  perforated  ]>ounce  pattern, 
made  on  nianilla  or  heavy  liuilding  paper.  .After  the  whole  scene  is  laid 
out  and  ;ill  corners  have  been  found  true  ;inil  s(|uare,  the  tints  and  colors 
for  painting  this  drop  should  be  mi.xed.  in  describing  the  ]jainting  of 
this  interior  setting,  however,  we  shall  refer  only  to  the  colors  necessary 
to  be  used.  For  all  of  the  white  mix  a  tint  consisting  of  bolted  white, 
modilieJ.  with  a  tritfe  chrome  yellow  medium,  to  take  the  harshness  out  of 
the  white.  For  the  inside  of  the  large  panels  use  a  bright  turkey  red  or 
oriental  red.  For  the  frames  around  the  molding  use  a  bright  pea  green 
mi.xed  from  fidiage  green,  a  trille  Italian  cjr  sky  blue  and  white;  for  the 
gold  ground  use  Dutch  jiink,  warmed  with  a  trifle  burnt  sienna  ;  for  shading 
this,  rich  brnwn  made  (if  Inirnt  sienna  and  \'an  Uyke  br<nvn,  ;ind  for  high- 
lights  a    thick    \ello\\-,    mixed    from   chrome    yellow,   lenuiu    and    zinc    white. 

.\11  the  gold  moldings  should  first  be  laid  in  and  then  retouched  or 
"tiashed  u])"  in  jdaces  where  the  light  strikes  it.  Whenever  no  certain 
source  of  illumination  is  demanded  it  always  is  best  to  have  it  come  from 
the  .upper  left  hand  corner  at  an  angle  of  43  degrees.  This  will  make  all 
fops  and  left  sides  of  protruding  objects  light  and  all  right  and  lower  sides 
shaded.  If  a  panel  is  set  in,  this  rule  is  to  be  reversed  and  the  right  and 
lower  side  illuminated,  .\fter  all  ]>anels  and  moldings  have  received  their 
ground  color,  highlight  the  molding  as  described  above,  using  the  colors 
thick  so  that  the  half-emptied  brush  can  be  dragged  from  the  highest  lights 
toward  the  shaded  side.  'Ibis  makes  the  highlights  blend  nicel_\-  with  the 
background  and  gives  them  a  look  of  brilliancy  that  can  be  obtained  in  no 
other  way. 

Finally  shade  and  retouch  all  molding  with  a  rich  brown,  using  a 
straight  edge  on  lines  of  all  straight  moldings  and  working  the  shading  on 
all  curved  moldings  free  hand.  If  light  green  spaces  over  center  panel 
.ire  desired  to  be  painted  in  imitation  of  tufted  satin,  as  indicated  in  illus- 
tration, the  spaces  should  first  be  divided  into  cubes  or  diamonds  of  equal 
size  and  the  left  and  upper  space  of  these  highlighted  with  a  light  tint  of 
zinc  while  ami  a  trifle  green:  the  lower  right  side  should  be  shaded  with  a 


darkish,    bluish    green,   and    the    niidiUe    left    the    color    of    the    background, 
that  is,  the  same  pea  green  as  found  in  all  the  rest  of  the  green  spaces. 

The  flowers  in  the  center  panel  over  the  door  should  be  copied  from  a 
good  flower  study.  A  picturesque  landscape  or  a  fancy  head  can  also  be 
put  ill  this  space  if  desired.  After  having  completed  your  first  model  of 
this  fancy  interior  drop,  make  three  or  four  models  of  a  similar  design,  but 
arrange  somewhat  differently  and  have  dift'erent  color  scheme  and  orna- 
mentations. 


PALACES. 


Palace  interiors  are  often  called  "palace  arch  drops,"  in  the  language  of 
the  stage,  and  generally  consist  of  a  back  dro])  with  two  or  more  leg  drops 
to  match,  and  are  cut  and  sometimes  netted.  On  Plate  13  we  have  illustrat- 
ed a  palace  interior  drop,  showing  distant  landscape  through  three  arches 
supported  by  a  marble  column.  After  the  muslin  has  been  sized  in  the 
usual  way,  drop  or  strike  a  straight  line  down  through  the  middle,  also  one 
on  each  side  of  the  canvas,  then  square  top  and  bottom  lines  with  these 
vertical  lines  and  start  to  lay  out  the  balustrade.  Ne.xt  draw  the  columns 
and  the  arches,  and  when  working  on  a  large  scale  you  can  use  a  bit  of 
charcoal  fastened  to  the  end  of  a  string;  when  making  the  half  circles  of 
the  arches  on  a  small  model,  these  circles  can  be  laid  out  with  an  ordinary 
compass.  Next  sketch  in  the  top  draperies,  vase,  palms  and  statuary..  If 
you  have  already  started,  as  is  customary,  an  indexed  collection  of  all  kinds 
of  cuts  and  i)rints,  we  believe  that  among  these  you  will  be  able  to  find 
models  for  these  statues.  l£nlarge  the  small  prints  by  the  method  of  squares 
as  taught  in  one  of  the  first  chapters  of  this  book,  and  draw  the  enlarged 
statue  in  its  place  on  the  scene.  The  landscape  behind  the  balustrade  and 
columns   slunild  be  some  kind  of  a  sunny  southern  scene. 

An  It.ilian  scene,  like  the  Bay  of  Naples  shown  in  our  illustration,  will 
be  found  very  apjiropriate.  This  distant  scene  should  be  painted  in  light, 
vivid  colors  or  tints,  so  as  to  give  suflicient  distance  and  illumination  to 
the  scene.  Having  completed  the  charcoal  outline  sketch,  we  will  now 
start  the  painting  of  same,  and  you  will  soon  find  out  that  this  is  one  of 
the  hardest  problems  you  have  solved  so  far,  but  it  will  be  worth  the 
trouble  and  if  executed  correctly  will  make  a  most  magnificent  and  bril- 
liant  piece  of   scenery,      l-'irst   select   a  good   study   for  the   landscape,   then 


PLATE  13. 


(i7i^^[?j]©  .^'ir^,oi^©.^^t)g  [g)i^(2)ip 


draw  the  main  outline  of  this  on  the  canvas  and  mix  a  color  for  the  sky. 
If  you  decide  to  put  on  a  design  simihir  to  the  one  shown  in  the  illustration, 
the  top  of  the  sky  should  be  painted  in  a  tint  consisting  of  sky  blue,  Italian 
blue,  zinc  white.  This  should  be  lighted  up  with  more  white  as  it  comes 
closer  down  to  the  horizon,  and  in  the  last  laps  should  have  a  trifle  lemon 
yellow,  then  medium  yellow  and  finally  orange  mixed  into  the  color.  The 
mountain  siiouid  be  i)ainted  in  a  light  pink  shade  and,  while  still  wet,  with 
bluish  lavender.  Down  toward  the  shore  a  few  dots  of  white  should  be 
laid  on  here  and  there  to  represent  houses.  The  water  should  be  started 
with  a  color  similar  to  the  top  of  the  sky  and  be  painted  deeper  blue  as  it 
comes  nearer  to  the  foreground.  The  buildings  on  the  left  shore  should 
throw  a  white  reflection  in  the  water,  which  must  be  painted  in  while  the 
color  is  still  wet  and,  as  the  rest  of  the  water,  with  horizontal  strokes  of 
the  brush.  The  buildings  are  either  pure  white,  a  trifle  yellowish  or  very 
light  pink,  showing  a  red  roof  here  and  there  and  being  shaded  with  a 
brilliant  lavender.  Next  paint  the  two  pine  trees  in  the  foreground.  They 
are  evergreens  somewhat  on  the  order  of  fir.  but  should  be  painted  in  a 
light  key,  using  a  light  pea  green  in  the  ligln  and  a  nuirc  bluish  green  in 
the  shaded  jjarts,  light  reddish  trunks  highlighted  with  orange  and  shaded 
with  purple.  Then  paint  the  arches  and  the  balustrade  in  a  grayish  laven- 
der, not  too  light.  The  columns  can  be  made  to  represent  dark  green 
marble,  and  in  order  to  give  a  sufficient  roundness,  you  should  mix  uj)  all  of 
the  tints  for  them  before  beginning  to  lay  tlicin  on,  and  when  doing  this 
rub  each  color  into  the  other  so  as  to  secure  a  soft  and  even  blending. 
All  brush  strokes  should  be  laid  parallel  witii  outside  of  columns  and  each 
tint  run  the  same  width  the  whole  length. 

\\"here  the  highlights  strike  the  columns  a  very  light  green  should  be 
used  and  one  on  each  side  of  this  and  along  the  outside  of  the  columns 
shoidd  be  a  trifie  darker,  and  in  between  them  should  be  painted  a  tint  of 
still  darker  green,  having  a  ver_\'  dark  bluish  green  shade  running  thr<iugh 
the  middle.  When  lints  are  partl\-  dry  lay  on  the  marble  veins  in  the 
bl;u-kish  green,  even  darker  than  the  darkest  part  of  columns.  When  col- 
lunns  are  clry  highlight  these  with  a  flash  of  rather  thickly  mi.xed  zinc  white 
from  the  top  duwn  through  the  lightest  green,  and  drag  the  brush  oiU  well 
at  the  end  of  the  flash.  The  next  to  ]):iint  will  I)e  the  heads  and  bases  of 
columns,  which  are  suj)posed  to  represent  gold  and  bronze.  They  should 
be  laid  in  with  light  gold  ground  made  of  Dutch  ])ink  around  the  edges, 
and  with  a  darker  gold  ground  in  middle  made  of  Dutch  pink  with  a  trifle 
sii-nna  .added  to  it.  When  this  is  dry.  highlight  with  yellow  lemon,  mi.xed 
with  zinc  white,  and  outlined  and  shaded  with  \'an  Dvke  brown.     The  arches 


and  balustrade  shuuld  he  highlighted  with  white,  moditied  a  trifle  with  a 
few  drops  of  yellow  in  it.  and  shaded  with  a  Ijluish  purple.  These  pieces 
of  wall  can  be  niarblized  with  a  lighter  and  darker  vein  if  desired.  The 
draperies  can  be  painted  in  several  shades  of  lavender  and  pur{)le,  being 
very  light  in  the  highest  lights  and  a  very  deep  purple  in  the  darkest 
spots,  so  as  to  obtain  sufficient  sparkle  and  luster  of  rich  silk  draperies. 
The  lining  where  shown  and  the  lower  draperies  can  be  made  of  pale 
yellow  or  pale  pink.  The  cords  and  tassels  can  be  laid  in  gold  ground  and 
shaded  with  light  lemon  yellow.  The  palms  should  be  painted  a  bluish  green 
and  high  lighted  with  a  very  light  green,  and  shaded  with  a  deep  olive 
green.  The  vases  and  small  columns  on  A\hich  the  statues  stand  should  be 
made  on  the  order  of  the  large  columns.  The  ornaments  on  the  draperies 
should  be  made  to  represent  gold,  with  different  colored  fancy  ribbons  run- 
ning in  between  them.  The  statues  can  either  be  painted  to  represent 
marble  or  lironze.  Marble  statues  have  a  zinc  white  modified  a  trifle  in 
parts  with  yellow,  a  grayish  lavender  in  half  tints  and  a  more  pronounced 
lavender  in  the  shades,  and  a  purple  in  the  dark  shadows.  Bronze  statues 
should  be  painted  light  green  in  the  highlights,  brownish  green  in  the  mid- 
dle tints,  dark  olive  green  in  the  shades   and  dark  brown   in  the   shadows. 

.•\fter  the  colors  are  dry,  the  highest  lights  should  be  scrumbled  on  in 
pure  white  for  marble  and  very  light  green  for  bronze  effects.  Finally 
lake  a  look  at  the  whole  scene  and  retouch  it  where  needed  and  highlight 
in  places  where  it  looks  dull  and  flat.  It  stands  to  reason  that  no  highlights 
should  be  put  in  deeply  shaded  ])laces,  but  only  where  the  highest  lights 
strike  the  subject.  Remember  that  the  scene  requires  hard  work,  but  is 
very  instructive,  and  do  not  get  discouraged  if  you  do  not  succeed  the  first 
time,  but  try  again  and  benefit  by  your  mistakes  and  when  you  finally  have 
a  first-class  palace  arch  dro])  }')U  \\ill  be  in  possession  of  a  very  magnificent 
piece  of  scenery  that  is  used  a  great  deal  in  comic  opera,  l)urles(|uc  and 
minstrel  shows. 

The  next  piece  of  scenery  to  paint  will  be  a  grand  staircase  drop,  w'hich 
is  even  more  intricate  .•ind  elaborate  than  an  ordinary  palace  arch.  When 
you  have  the  canvas  ready  you  should  drop  three  vertical  lines  down,  one 
through  the  middle,  one  at  each  edge  of  canvas;  also  one  horizontal  line 
at  bottom  of  scene  and  one  line  ])arallel  ,ind  scjuare  with  vertical  lines  at 
top  of  canvas.  Next  start  to  lay  out  the  columns  or  pilasters  on  back 
wall,  then  draw  your  staircase,  and  finally  the  object  in  the  foreground. 
Most  any  kind  of  a  bright  and  harmonious  color  scheme  cin  be  used  for 
this  drop.     I""irst  paint  one  model  in  the  colors  given  below  and  then  a    lew 


more  in  (iift'erent  ctilor  coinl)inatiinis.  ']"lif  I'rencli  uindciw  in  tlu-  hack- 
ground  sliould  1)C'  painted  a  dark  blue,  at  tlu-  tup  liK-ndrd  intu  a  liL;!it  liliic 
and  the  color  ending  up  with  a  _\ell()\vish  tint  in  tlie  lower  panes.  Window- 
frames  should  be  given  a  light  pur])]e  color,  highlighted  with  light  red  and 
shaded  deep  purple.  The  statue  in  frcmt  of  window  should  be  painted  as 
described  in  former  lessons,  and  back  wall  should  be  made  a  light  bulf 
color,  with  pilasters  (flat  columns)  in  ivory  with  gilded  cajjs.  The  stair- 
case should  be  painted  in  imitation  of  white  marble  and  top  stejjs  nearly 
white,  those  in  the  middle  with  a  trifle  \ellow  in  the  white,  those  lower 
down  witli  a  little  red  in  the  tint  and  the  lowest  with  a  trifle  lavender  in 
the  color.  The  balustrade  and  railing  slmuld  be  m;ide  in  ivcirv  tint,  being 
lavender  in  the  shades  and  having  white  highlights  and  purple  shadows. 
The  lower  arches  should  be  given  a  deeper  bufif  than  the  back  wall  and  can 
be  marblized  with  dark  brown  and  cream  colored  veins. 

Palms  and  plants  shcjuld  be  ])ainted  as  explained  in  former  lessons. 
The  candelabra  can  be  ])ainted  in  imitation  cjf  bronze  with  white  porcelain 
shades  over  the  lights.  Following  this  color  scheme,  as  given  above,  \-ou 
will  have  a  nice  and  bright  looking  scene  in  tasty  colors,  but  to  obtain 
more  practice  we  should  advise  you  to  make  three  or  four  more  models 
of  grand  staircase  dro]is,  changing  color  schemes  in  each  new  model  that 
you  paint. 


—133— 


CHAPTER  SEVENTEEN 


ADVERTISING  AND  FANCY  FRONT  DROPS. 


E  front  drop  curtain  in  a  theater  is  nearer  the  eye  of  the  audience 
than  any  other  scenery  :  it  is  down  between  acts,  when  the  lights 
in  the  house  are  un.  It  will  be  criticised  and  scrutinized  more  close- 
1\  than  the  rest  of  the  scenery,  and  therefore  must  be  executed 
with  more  care  and  closer  attention  to  details  than  is  necessary  when  paint- 
ing a   mountain   scene   or  a   cabin   interior. 

All  colors  should  be  pure  and  bright,  but  not  gaudy ;  color  harmonies 
should  be  studied  closely  and  the  general  color  scheme  of  the  front  drop 
should  fit  in  well  with  the  decorations  used  in  the  auditorium.  If,  for  in- 
stance, the  predominating  color  in  the  house  is  pink,  the  draperies  on  the 
front  drop  should  not  be  painted  red,  nor  if  the  color  of  the  house  is  yellow 
or  light  pink.  Green  or  purple  draperies  would  harmonize  with  the  above 
mentioned  colors.  If  draperies  on  front  drop  are  to  represent  heavy  silk 
or  satin  fabric,  the  highlights  should  be  strong  and  clear,  and  middle  tints 
considerably  lighter  than  the  deep  shades  in  which  often  are  found  reflec- 
tions from  the  lighter  part  of  the  drapery.  If  velvet  draperies  are  to  be 
represented,  the  highlights  should  not  be  marked  so  sharply  or  pronounced 
and  the  shades  should  be  deeper,  darker  and  fuller  than  on  satin.  If  woolen 
goods  are  represented,  the  highlights,  if  any,  should  be  very  subdued.  A 
good  combination  is  found  in  rich  velvet  overdrapings  hanging  over  lighter 
colored  silk  draperies  below.  Fringes,  tassels,  pompoms,  ornamental  bor- 
ders, etc.,  help  to  lend  richness  to  the  draperies  and  should  be  highlighted 
strongly  in  the  light  parts,  but  not  in  the  shades  and  shadows. 


ADVERTISING  DROPS. 


These  drops  are  often  found  in  smaller  houses,  as  they  yield  a  revenue 
to  the  proprietor  of  tlie  house  or  to  the  agent  who  has  solicited  the  adver- 
tisements   from    the    local    i)usiness    ])eople :    they    are    never    as    artistic    or 


PLATE  14. 


pleasing  as   a   drop  without   advertisements,   and   therefore   are   hardly    ever 
fciund  in  high  class  theaters. 

On  Plate  14  we  show  an  illustration  of  a  plain  advertising  front  drop 
curtain  with  fourteen  spaces  for  advertisements;  these  spaces  can,  of 
course,  be  increased  or  decreased,  as  the  occasion  may  demand.  The  top 
of  the  curtain  is  embellished  with  a  Valance  border,  representing  rich  silk- 
draperies  with  gold  fringe  around  the  edges :  silk  draperies  of  a  similar 
color  are  also  hung  over  columns  at  either  side  of  curtain.  These  draperies 
can  be  made  in  any  shade  or  color  harmonizing  with  the  general  color 
scheme  of  the  auditorium  in  the  theater,  and  should  also  harmonize  w-ith 
the  background  of  the  advertisements.  A  light  green,  a  deep  red,  or  a 
lavender  are  good  colors  for  draperies.  With  the  lavender  draperies  the 
background  for  the  advertisements  may  be  a  very  light  pink  or  pea  green; 
same  background  color  can  also  be  used  with  red  draperies.  With  green 
draperies  a  very  light  lavender  shade  would  form  a  harmonious  background 
color  for  the  advertisements.  The  frames  around  these  advertisements 
should  be  made  to  represent  old  mission  colored  wood;  the  highlights  on 
same  should  be  made  a  very  light  green  and  Bashed  on  from  the  middle 
towards  the  corners  ;  the  shadows  should  form  solid  lines  and  be  made  from 
a  blackish  purple  tint.  In  the  middle  of  curtain  is  a  landscape  picture  of  an 
appropriate  design  surrounded  by  an  ornamental  frame  that  is  painted  in 
gold  ground  and  highlighted  with  light  chrome  yellow  and  shaded  with  a 
dark  reddish  brown.  A  small  stenciled  border  can  be  used  on  middle  mold- 
ing in  frame.  The  column  spaces  shown  under  draperies  should  also  repre- 
sent gold  or  bronze,  and  the  shafts  and  pedestals  of  columns  should  be 
marblized.  After  having  finished  one  model,  according  to  these  directions 
given  here,  design  three  or  four  different  advertising  curtains,  using  your 
own  judgment  in  the  designing,  and  in  one  of  these  do  not  confine  yourself 
to  square  spaces  for  all  of  the  advertisements,  but  make  some  of  them  into 
circles,  ovals,  scrolls,  banners  and  the  like,  but  whatever  design  you  make, 
be  sure  to  use  good  taste  and  do  not  get  it  over-elaborated  with  details 
and  fancy  work. 


FRONT  DROP  CURTAINS. 


The  front  drop  curtain,  illustrated  on  Plate  15,  is  a  replica  of  the  famous 
drop  curtain  at  the  Royal  Theater,  Copenhagen,  Denmark,  which  was  paint- 
ed about  fifty  years  ago,  by  one  of  the  most  noted  European  scenic  artists.    It 


—137— 


makes  a  magnificent  and  very  elaborate  curtain,  hut  is  not  of  the  easiest 
design  to  duplicate.  However,  as  it  is  very  instructive,  we  have  selected 
this  design  for  a  model,  as  you  can  learn  a  great  deal  by  the  making  of 
colored  scenic  models  from  this  splendid  and  historically  correct  design. 
Directions  for  painting  this  in  fresco  colors  follow  below. 

The  large  draj)eries  in  front  should  he  painted  so  as  to  represent  heavy 
woolen  g'oods  of  a  deep  rich  red  color  :  for  instance,  deep  turkey  red.  No 
distinct  highlights  are  recjuired.  but  the  shades  should  be  made  with  two 
deep  reds,  verging  on  a  blackish  purple  in  the  very  deepest  shadows.  When 
making  the  sketch  for  this  design  be  sure  to  draw  a  correct  outline  of  the 
folds,  so  that  they  fall  in  the  same  directions,  as  indicated  in  the  halftone 
illustration.  Behind  these  draperies  is  shown  a  vista  of  a  Grecian  land- 
scape, with  the  temple  of  01\nipus  on  top  of  the  mountain  and  in  the  fore- 
ground, on  the  rose-covered  balustrade,  stand  two  statues  of  Thalia  (the 
muse  of  comedy)  and  IMelepomene  (the  muse  of  tragedy).  Thalia  has  for 
her  attributes  a  shepherd's  flute  and  a  tambourine;  Melepomene,  a  drawn 
dagger  and  a  large  mask.  The  curtains  are  pulled  away  from  this  scene 
by  the  aid  of  nine  winged  Cupifls. 

After  liaving  sketched  in  the  drop  correctly,  proceed  to  paint  the  sky 
behind  the  mountains.  It  should  be  a  light,  bright  blue  at  top,  mixed  from 
sky  blue  or  Italian  blue,  with  zinc  white.  As  it  comes  nearer  down  towards 
the  horizon  the  color  gets  more  white  in  it  and  also  a  trifle  yellow,  'i'he  last 
sweep  of  the  sky  over  the  distant  hills  has  no  more  of  the  blue  in  the  tint, 
but  a  trifle  orange  to  warm  nji  the  c(jlor. 

The  hills  or  mountains  in  the  farthest  distance  are  painted  a  very 
light  red  i  in  tlie  left  side  and  ;i  light  lax'ender  on  the  right  side.  The}' 
should  be  painted  in  when  the  mitlines  of  the  sky  are  still  wet,  so  as  to 
obtain  soft,  indistinct  nutlines  lilendcd  somewhat  intu  the  sky  culor.  The 
mountains  in  the  niiddle  distance  are  yellowish  red  on  the  left  side,  with 
some  bright,  light  green  shuwing  here  and  there.  The  right  side  is  cov- 
ered with  \crdin'e  and  trees,  that  are  lighter  in  tint  the  farther  awav  from 
the  fnreground  the\'  are.  The  trees  are  3-ellowish  green  on  the  left  side, 
light  i>live  green  in  the  middle  and  bluish  green  on  the  right  side.  The 
light  C(imes  fruni  up])er  left  corner.  The  large  cypress  trees,  directK  in 
foreground,  are  darker  and  more  brnwnish  green  than  the  rest  of  the  trees. 
The  palm  leaves  in  front  nf  middle  temple  are  light  green.  The  climbing 
roses  hanging  over  the  balustrade  show  more  yellowish  green  in  the  hdiage 
than  the  trees  farther  away.  The  nearer  slopes  of  the  mountains  are  light 
green,  mixed  here  and  there  with  a  trifle  light  red  and  orange.     The  tem- 


PLATE   15. 


pies  are  light  red  where  the  light  shows,  lavender  in  the  shaded  sides,  and 
light  purple  in  the  deep  shadows.  These  colors  should  be  lighter  the 
farther  away  from  the  foreground  the  buildings  are  located.  The  statues 
are  painted  white  in  the  Hght  parts,  yellowish  in  the  half  lights,  with  a 
light  red  touch  here  and  there ;  light  lavender  in  the  shades  and  bluish  pur- 
ple in  the  shadows.  The  statue  of  Thalia  shows  only  part  of  the  left  arm, 
tambourine  and  lower  draperies  in  the  light,  the  rest  of  the  statue  is  in 
the  shade  from  the  curtain  in  front,  being  a  light  lavender,  shaded  with 
bluish  purple.  The  balustrade  is  a  yellowish  marble,  showing  light,  green- 
ish blue  veins  here  and  there.  The  floor  is  made  of  white  and  black  marble 
tiles.  The  farthest  row  of  these  are,  alternately,  pure  white  and  deep  pur- 
ple;  the  middle  rows,  light  yellowish  white  and  purplish  black;  the  front 
rows,  light  whitish  lavender  and  solid  black  tiles.  This  gives  the  correct 
color   perspective. 

In  order  to  get  the  correct  perspective  in  the  tiles,  the  vanishing  point 
should  be  laid  at  the  upper  left  corner  of  pedestal  on  which  statue  farthest 
to  the  right  stands,  partly  hidden  by  draperies.  The  Cupids  should  be 
sketched  in  in  their  true  proportions,  and  a  flesh  color  for  the  lightest  parts 
should  be  mixed  out  of  zinc  white,  orange  and  a  trifle  chrome  yellow  me- 
dium. For  the  darker  or  shaded  parts  of  the  bodies  the  same  tint  with  an 
addition  of  a  little  burnt  sienna,  and  in  the  deepest  shadows  burnt  umber 
can  be  used.  Lines  in  between  fingers  and  toes  should  be  made  with  a 
deep  red.  The  hair  of  the  Cupids  should  be,  for  some  of  them,  light  yel- 
low, shaded  with  orange  and  brown  in  the  shadows,  and  for  others,  brown, 
shaded  with  purple  and  black.  The  wings  should  be  white,  with  a  lavender 
cast  in  the  shadows  and  outlined  in  between  the  feathers  with  tilue.  From 
these  directions,  we  are  confident  that  you  will  be  able  to  paint  a  front 
drop  of  this  magnificent  design.  If  you  should  not  succeed  the  first  time, 
try  again ;  put  your  first  study  on  the  wall  of  the  paint  room  and  go  to 
work  again,  finding  all  the  mistakes  and  shortcomings  in  the  first  model, 
and  correcting   them  in  the  new  one  that  you  are  making. 

Having  made  a  satisfactory  model  of  the  above  described  design,  you 
should  choose  a  different  landscape  and  paint  that  in  the  space  below  the 
draperies.  This  time,  if  so  desired,  the  Cupids  can  be  omitted  and  the 
draperies  appear  as  if  they  were  hung  over  the  balustrade,  showing  the 
form  of  the  balustrade  behind  the   folds. 


CHAPTER  EIGHTEEN 


MODERN  STREET  SCENES,  ANCIENT  AND  ORIENTAL  STREET 

SCENES,  SET  HOUSES. 


liEX  making  theatrical  scenery  or  theatrical  scenery  niudels  with 
street  scenes  as  models,  you  must  be  careful  to  get  the  perspec- 
tive exactly  correct,  color  perspective  as  well  as  linear  ])erspective, 
and  you  must  he  sure  that  all  of  the  vertical  lines  of  the  design  are 
absolutely  plumli.  In  laying  out  a  design  for  a  street  scene  remember  that  the 
stage  is  always  elevated  some  above  floor  of  auditorium  ;  the  vanishing  point 
should  therefore  be  laid  rather  low,  that  is,  below  the  level  of  the  eye  of 
an  ordinary  sized  person,  and  it  should  also  be  laid  not  exactly  in  the 
middle  of  the  picture,  but  rather  over  to  one  side,  the  shaded  side  of  the 
street  preferable.  On  Plate  16  we  shall  give  directions  illustrating  an  ordi- 
nary street  in  a  medium  sized  town.  We  shall  give  directions  to  this  de- 
sign, as  there  are  such  an  enormous  lot  of  American  street  scenes  illus- 
trated in  the  magazines  and  on  ]30st  cards  that  it  will  lie  a  very  easy 
matter  for  you  to  obtain  one,  selecting  something  that  will  not  be 
too  elaborate  or  too  full  of  detail.  When  you  are  planning  a  street  scene 
remember  that  the  colors  get  cooler  and  grayer  and  the  outlines  more 
indistinct  and  the  detail  less  the  farther  the  object  is  awa}'  from  the  ob- 
server, and  alsd  remember  that  the  shades  and  shadows  slmuld  be  cool  and 
purplish,  while  the  lighted  side  of  the  street  should  be  in  ;i  warm,  rich 
coloring,  with  well-defined  highlights  anel  sharply  cut  sh.'idnws.  and  the 
nearer  the  Imildings  come  to  the  foreground  tiie  nmre  urnaniental  and  nmre 
full  I  if  detail  thev  ought  to  be.  Persons,  wagons,  street  cars,  or  any  other 
movable  objects  shoulil  ne\er  be  introduced  in  a  street  scene  for  theatrical 
purposes,  unless,  of  course,  that  a  special  occasion  demands  this.  In  the 
illustration  of  a  modern  American  street  that  accompanies  this  chapter, 
the  ])ers])ective  vanishing  ])oint  can  1)e  foimd  over  the  middle  of  sidewalk 
to  the  left  at  a  bttle  k•s^  than  une-thinl  nf  height  of  scene.  .\11  receding 
lines  should  converge  in  this  point.  These  lines  can.  wlien  niddel  is  ])ainted 
on   a  large  scale,  be  snapped   with  a  blackened   ch;ilk    liiie   that    vdur   hel]ier 


holds  at  a  vanishing  point,  but  when  making  a  small  scale  model  these  lines 
should  be  drawn  with  a  straight  edge.  When  starting  to  lay  out  this 
scene  begin  with  the  vanishing  lines  nt  the  two  sidewalks,  then  draw  the 
perspective  lines  below  and  above  the  window,  awning  and  cornices,  and 
next  set  oti  the  vertical  lines  between  the  Iniilding  and  windows.  All 
curves,  arches,  circles  and  the  like  will  have  to  be  drawn  in  free  hand. 
When  you  have  a  true  .-md  v.elkbal-inccd  charcoal  outline  sketch  of  the 
scene,  start  the  coloring  of  same.  I'aint  a  nice,  clear,  light  blue  sky,  tone 
it  towards  the  horizon  as  usual,  paint  all  buildings  to  the  right  in  the 
sunlight  in  clear,  bright  colors,  make  these  paler  and  mixed  with  more 
white  the  farther  away  from  the  front  the  houses  are,  and  be  sure  that 
your  shades  are  correspondingly  light  in  the  distance,  using  a  very  pale 
lavender  for  the  deepest  shade  lines.  This  color  should  be  ileepened  as 
you  I'ome  nearer  the  frunt  building.  Below  all  of  the  arches,  doorways 
and  cornices  are  strong,  uell-detined  shadows.  When  properly  painted, 
these  \\ill  help  to  give  illumination  and  Ijrilliancy  to  the  lighted  piece  of 
the  scene.  The  large  pr(itru<ling  building  in  the  middle  distance  siiould  be 
painted  a  color  a  trifle  stronger  than  the  building  in  the  light  side  ;it  about 
the  same  distance  from  the  observer,  but  a  trifle  lighter  in  ct)lor  than  the 
corres])onding  buildings  in  the  dark  or  shaded  side  of  the  street.  The  very 
much  foreshortened  house  fronts,  i  m  the  shaded  side  of  the  street,  slK'uld 
be  p.iinted  without  nuich  det;iil  wcirk  in  several  shades  of  lavender  and 
inirple,  while  the  side  of  the  awnings  should  be  ])ainted  in  bright  colors, 
as  the  sunlight  strikes  these  objects.  The  cnrner  of  the  Iniilding  to  the 
extreme  left  is  also  in  the  light,  bright  colurs.  The  hcmses  to  the  left  throw 
a  |iur]ilish  shadow  over  the  sitlcwiilk  .iml  i  in  the  street:  this  slmuld  be  ]iut 
in  -while  the  color  is  still  wet,  so  as  to  obtain  soft  outlines  oi  this  shadow. 
The  t-oliir  nf  the  street  st.arts  with  ;i  '.ery  liglit  cream  and  gets  a  trifle 
darker  ;in(l  mcire  brnwnivh  in  tone  ;is  it  reaches  down  tow.ards  the  fore- 
griiunij.  I  he  building  <>\\  the  extreme  right  is  .i  moving  ])icture  house,  and 
you  can  lix  the  lobby  <if  same  as  el:di(  irately  ;is  \iiu  ma\  wish,  with  p.inel 
])ictures  and  gaudy  colored  ])osters.  .\fter  having  m;ide  the  street  scene 
according  to  design  just  descriijcd,  obtain  a  collection  <if  j)ost  cards  or  any 
other  rejiroduction  of  American  streets  and  select  some  of  these  which 
will  make  good  street  ■scenes  for  the.itrical  jnirposes  and  |)aint  about  three 
or    four  of   these   dilTerent    views. 


ANCIENT  AND  ORIENTAL  STREETS. 

The   ancient   and   oriental    street    lorms   a    great    deal    more   picturesque 
\iew    than  does  the  modern  American  street,  with  its  uniform,  cnbelike  and 


often  hideous  looking"  buildings.  When  painting  an  ancient  city  under 
southern  skies  remember  to  obtain  brilliant  sunlight  effects,  having  a  deep 
blue  sky  above  and  jnirplish  sharp-defmed  shadows  below.  You  can  easily 
obtain  views  of  ancient  (irecian  and  Roman  temples  and  other  magnificent 
buildings ;  these  are  generally  marble  structures  and  the  sunlit  marble 
surfaces  should  be  painted  a  ver)-  light  cream,  or  even  a  light  pink  in  the 
sunny  places,  and  should  be  lavender  or  even  purple  in  the  shadows.  The 
ancient  Grecian  and  Roman  scenery  is  not  used  a  great  deal  in  modern 
theatricals.  More  use  can  be  found  for  oriental  street  scenes,  either  ancient 
or  modern,  and  we  shall,  therefore,  in  the  coming  paragraphs,  describe  the 
painting  of  such  an  oriental  scene.  The  scene  represents  the  minarets  and 
cupolas  of  the  oriental  city  that  is  seen  in  the  evening  illumination.  In 
the  far  distance  is  the  mountainous  landscape,  and  in  the  foreground  a  few 
palms  and  tropical  shruljbery.  Sketch  in  the  usual  way,  taking  great  care 
that  all  the  vertical  lines  are  perfectly  plumb.  After  having  obtained  these 
outlines  of  the  tower  draw  the  spires  and  cupolas  free  hand  and  also  the 
balconies  and  railings.  After  the  whole  scene  is  properly  drawn,  start  to 
paint  a  sunset  sky,  as  explained  in  chapter  dealing  with  skies.  The  far 
distant  mountains  should  be  painted  in  while  sky  is  still  wet,  so  as  to 
secure  soft  blended  outlines  of  same.  The  colors  should  be  lavender  and 
light  rose,  turning  into  a  yellowish  green  as  the  mountains  come  nearer 
to  the  middle  distance.  The  buildings  in  the  town  should  be  painted  several 
shades  of  light  cream  color  on  all  the  sunlit  sides  turning  to  the  left,  and  the 
shaded  sides  of  the  buildings  and  the  minarets  should  be  light  lavender 
and  cool  grays.  The  window  and  detailed  ornamentation  should  be  put  in 
with  a  reddish  purple ;  cupolas  are  pale  yellowish,  running  into  an  orange 
and  a  grayish  lavender.  Two  of  the  minarets  are  built  of  white  and  red 
striped  brick.  The  city  wall  in  front  of  town  should  be  painted  a  warm 
orange  and  a  light  brown,  and  should  be  shaded  with  deejjcr  red  and  brown 
in  places  to  indicate  different  colored  stones.  The  shaded  parts  are  a 
reddish  purple.  Vines  hanging  (wer  the  ])arapets  are  a  light  yellowish 
green,  shaded  with  a  l)luish  green.  The  road  running  into  the  city  starts 
with  a  light  urange  tint  and  gets  a  triHe  lighter  and  cooler  in  the  middle 
distance.  The  palm  trunks  are  reddish  brown,  the  foliage  a  \ellowish 
green,  shaded  with  a  reddish  olive  ;  the  llowers  in  the  foreground  are  red- 
dish pink,  highlighted  with  a  bluish  white  and  shaded  with  a  deej)  rose. 
The  rocks  are  light  chocolate  brown,  shaded  with  purple.  When  model  or 
scene  is  linished  leave  it  for  a  while  on  your  workstand  or  paint  frame 
and  do  stmiething  else  to  distract  your  mind  from  the  ^ui)ject.  When  \  on 
then   return   to  your   work,  take   in  the   whole   scene   in   a   ipiick   glance   and 


PLATE  1 6. 


if  any  culur  \aluc  strikes  _\  ou  as  beins;-  -ATong,  glaring,  inartistic  or  out  of 
keeping  with  its  surroundings  do  not  hesitate  to  paint  it  over  and  retouch 
it  until  it  has  the  desired  effect.  This  method  of  leaving  your  finished 
work  for  awhile  and  returning  to  it  again  is  a  good  one  and  should  Ijc  prac- 
ticed frequently  when  executing  a  diflictilt  ])iece  of  work.  Faults  and  mis- 
takes that  you  could  not  see  before  will  now  be  api)arent  to  you  and  can 
consequently  be  corrected.  After  ha\ing  painted  the  oriental  street,  as 
described  above,  select  three  or  four  dilTerent.  preferably  colored,  illustra- 
tions of  other  oriental  cities,  and  make  scenery  mip(k'ls  from  these  illustra- 
tions.   

SET  HOUSES. 


A  "set  house"  in  the  language  of  the  theater  means  a  mounted  piece 
of  scenery  and  generally  representing  the  front  of  a  house  and  often 
having  practical  doors  and  windows.  These  houses  are  called  "cabins." 
"plain  houses,"  "mansions,"  etc.,  according  to  the  building  they  are  sup- 
posed to  represent.  The  easiest  to  paint  are  the  Mexican  adobe  houses  or 
the  southern  or  western  log  cabins.  A  set  house  can  consist  of  one  or 
more  pieces  of  "flats"  that  are  secured  to  the  stage  witii  braces  and  stage 
screws  and  lashed  together  at  the  corners  the  same  way  as  interior  flats. 
For  the  moiuiting  of  set  houses  read  directions  for  mounting  of  scenery 
given  in  another  chapter.  Adobe  houses  have  very  small  windows  and 
door  openings,  roofs  and  often  flat  walls  slinulil  be  painted  to  represent 
sun-baked  clay.  Pots  with  flowering  cactus  can  be  used  to  enliven  the  tlull 
colors  of  the  set  pieces.  These  can  either  be  real  or  painted  on  the  scene. 
An  exterior  of  a  log  cabin  is  made  similar  to  tlie  interior  already  described, 
only  be  sure  that  the  corner  shcnvs  the  paint  on  i>oth  sides  and  tiie  ends  of 
the  log  cabin  meeting  at  right  angles  and  extending  out  about  three  or 
four  inches.  A  "plain  house"  is  generally  painted  as  an  ordinary  frame 
structure  covered  with  siding  and  having  a  porch  or  veranda  in  front.  This 
must   be   mounted   se])arately. 

"Mansions"  are  of  many  designs,  either  colonial  manor  iiouses  with 
great  Roman  porch  pillars  or  of  continental  architecture  in  many  varia- 
tions. In  order  to  be  able  to  paint  an  ancient  as  well  as  modern  dwelling 
correctly  the  pupil  should  acquire  a  good  standard  work  on  architecture  and 
study  different  styles  carefully.  A  very  great  help  to  the  serious-minded 
student  (jf  theatrical  scene  painting  in  all  vi  its  phases,  would  be  a  small 
but  select  lii)rary  of  good  illustrated  reference  books,  such  as  an  "Encyclo- 
pedia Britannica"  and  an  illustrated  "History  of  the  World,"  and  an  illus- 
strated  "geography." 


PLATE  17. 


CHAPTER  NINETEEN 


LANDSCAPES,  WOODS,  GARDENS. 


m^  i}ri)l)k-nis  in  tht-atricMl  scene  jjaintiiie  that  su  far  have  been  given 
the  pni)il  tu  do  have  Jieen  of  a  nature  that  called  mure  for  niechan- 
ii'al  -ikill  and  correctness  in  their  execntiun  than  for  artistic  feeling 
— ^  and  talent.  True  enough,  that  in  order  to  make  pleasing  interior 
settings,  the  theatrical  scene  painter  must  know  a  great  deal  about  harmo- 
nious color  effects  and  tasteful  ornamentation,  but  nevertheless,  it  is  first 
\\  hen  he  comes  to  paint  the  different  exterior  settings  that  are  used  on  the 
modern  stage  that  he  has  to  utilize  every  bit  of  liis  artistic  training  and 
employ  all  of  his  artistic  talent  to  the  best  of  his  abilit\'. 

We  therefore  earnestly  urge  the  pupil  tn  recapitulate  a  great  man\-  of 
the  chapters  given  in  the  first  part  of  this  book  before  he  begins  the  painting 
of  actual  scenery — models  of  landscapes,  woods  and  gardens.  We  should 
especially  recommend  that  he  studv  up  on  linear  perspective,  landscape 
drawing  from  nature  in  ])encil  and  crayon  and  landscape  painting  in  water 
and  oil  colors  and  that  he  make  a  complete  set  of  original  sketches  from 
problems  demanded  in  this  chapter,  before  he  is  satisfied  that  he  is  able  to 
make  a  creditable  and  artistic  landscape  sketch  from  nature  in  black  and 
white  and  colors.  By  following  this  advice  much  time  will  be  gained  and 
much  useless  work  and  disappointment  avoided. 


LANDSCAPES. 


The  landscape  back  dro])s  used  on  the  stage  are  of  many  varying  de- 
signs, their  subjects  taken  from  almost  every  country  on  the  globe,  and 
we  should  advise  the  student  to  purchase  some  well  illustrated  works 
showing  views  from  various  countries  in  the  wurld. 


There  are  a  great  many  of  such  books  that  we  recommend  on  the 
market.  We  can  recommend  "Burton  Hohnes  Travelogues"  or  a  yearly 
subscription  to  "The  Mentor"  as  being  especially  valuable.  It  would  also 
be  a  very  good  plan  to  start  a  collection  of  clippings  of  the  best  that  appear 
in  current  papers  and  magazines. 

The  prints  should  be  neatly  trimmed  and  a  short  description  of  what 
they  represent  be  given  on  the  margin.  They  should  then  be  assorted 
according  to  subject  and  should  be  marked  plainly  with  the  name  of  the 
subject  they  contain,  as,  for  instance,  "mountain  scenery,"  "snow  scenery," 
"marines,"  "cities,  modern,"  "cities,  foreign,"  "cities,  ancient"  and  so  forth 
and  so  on. 

When  called  upon  to  paint  a  special  landscape  drop  for  some  certain 
play  the  scenic  artist  will  then  not  be  left  to  draw  on  his  imagination  or 
memory,  which  at  its  best,  is  always  a  ticklish  and  uncertain  undertak- 
ing, but  can  turn  to  his  collection  of  prints  or  to  his  illustrated  books  and 
always  find  just  the  scene  that  is  wanted,  which  he,  of  course,  in  most  cases 
will  have  to  adapt  to  the  conditions  demanded,  but  which  he  now  can  depict 
with  hi^tiirical  and  geographical  correctness. 

The  iliu>tratii)n  accompanying  this  assignment  is  the  reproduction  of  a 
water  color  sketch  of  one  of  the  Niagara  Falls,  and  as  it  contains  details 
showing  a  distant  city  and  landscape,  a  river.  ;i  waterfall,  and  rocks  and 
trees  in  the  foreground,  it  has  been  selected  as  a  study  containing  many  of 
the  different  problems  to  be  encountered  when  ])ainting  landscape  for 
tlicatrical  scenery.  We  shall  give  a  short  descri])tio!i  of  the  colors  and 
tints  to  be  used  when  ])ainting  a  scenery  nidilel  nr  piece  of  actual  scenery 
fnr  tiiis   ijlustraticin. 

The  directions  given  below  are  for  the  use  of  water  or  fresco  colors 
ti)  be  mixed  with  glue  and  whiting  in  the  usual  way,  as  formerly  described. 

i'lu-  sky  consists  of  a  mixture  of  zinc  white,  chrome  yellow,  lemon, 
and  a  trifle  sky  and  ultramarine  blue.  The  shore  is  a  light  bluish  lavender 
shaded  here  and  there  with  ultramarine  blue.  The  shore  is  a  light  lav- 
ender shaded  here  and  there  with  a  darker,  mure  reddish  lavender  and  having 
a  light  green  field  un  the  crest  of  the  cliffs  tii  the  right.  The  houses  and 
buildings  are  very  light  red  and  lavender,  retouched  here  and  there  with  a 
little  darker  brownish  red.  The  water  in  the  river  is  first  painted  a  very 
light  bluish  green  and  then  highlighted  all  over  with  even  strokes  of  white 
with  a  trifle  of  yellow  in  it.  This  must  be  done  so  as  to  represent  the  white 
foam    from    the    turlndent,    surging    stream,    the    waterfall    proper    being 


painted  in  a  similar  manner.  Tlie  under  painting  is  white,  yellowish 
white  and  light  green  and  bluish  white,  with  a  trifle  lavender  in  the  fore- 
groimd  and  a  reddish  purple  showing  through  in  the  nearest  falls.  When 
parti}'  dry  the  tmderpainting  should  be  retouched  with  white,  applied  so 
as  to  represent  the  foam  and  ripples  of  the  falls  under  the  bridge.  This 
and  the  rocks  and  tree  trunks  in  the  foreground  are  laid  in  with  bright 
brown  and  deep  orange  and  highlighted  with  slate  gray,  purple  and  light 
brown  and  greenish  yellow-  and  shaded  with  a  brownish  purple  in  the 
deepest  shadows.  The  trees  are  lai<1  in  with  an  olive  green  that  grows  lighter 
towards  the  edges.  When  dry  the  stems  and  branches  are  put  in  brown  and 
the  eliect  of  leaves  laid  on  in  lighter  and  darker  green. 

When  having  completed  a  satisfactory  sketch  of  this  design  make 
another  substituting  a  different  landscape  in  the  foreground  and  showing 
more  of  the   river. 


WOODS. 


The  professional  name  for  a  backdrop  representing  a  forest  is  either 
dark  woods  drop,  when  the  scene  is  painted  in  dark  shaded  and  tints  and 
showing  no  landscape  in  the  background,  or  light  woods  drop,  when  the 
general  scale  of  color  is  lighter  and  the  tree  trunks  further  apart,  often  dis- 
closing a  view  of  a  lake  or  open  country.  The  illustration  shows  such  a 
"light  woods  drop"  of  a  design  especially  well  adapted  to  the  needs  of  the 
smaller  as  well  as  the  more  pretentious  theaters. 

Below  will  be  found  a  few  general  directions  for  making  scenery  models 
or  actual  scenery  painted  in  distemper  colors   from  this   design. 

After  having  stretciied  and  sized  your  muslin  on  your  easel  or  paint 
frame  start  to  sketch  in  the  outline  of  the  design  in  charcoal.  Next  start 
on  the  sky  shown  over  the  distnnt  trees.  This  is  a  "plain  sky"  starting 
with  a  light  blue  tint  mixed  from  whiting,  zinc  white,  and  Italian  or  sky 
blue.  This  tint  blends  softly  into  the  lighter  blue  and  ends  up  with  a  slightly 
yellowish.  The  trees  on  the  farther  side  of  lake  should  be  painted  in  while 
sky  is  wet,  so  as  to  secure  soft  blended  outline  of  the  trees,  shown  against 
sky. 

The  shaded  side  of  trees  is  light  bluish  and  pinkish  lavender  blended 
into  each  other.     The  trunks  and  branches  are  a  trifle  deeper  lavender  and 


bluish.  The  Hght  part  of  the  foliage  is  a  brilliant  light  green,  made  from 
zinc  white,  yellow  chrome,  lemon  and  a  trifle  foliage  green  or  chrome 
green  light.  The  lake  is  light  blue  with  deeper  shades  and  white  reflections. 
The  shrubbery  in  middle  distance  is  very  light  yellowish  green  with  darker 
green  shading.  The  grass  border  is  painted  the  same  colors.  The  back- 
ground behind  the  foreground  trees  is  light  yellowish  in  places,  light  green 
and  brownish  orange   in  other  places. 

The  tree  trunks  are  a  bluish  pea  green  in  the  lighter  places,  a  medium 
coffee  brown  in  darker  places  and  a  dark  Van  Dyke  or  burnt  umber  brown 
in  the  shaded  places. 

The  foliage  is  light  pea  or  yellowish  green  on  left  (light)  side  of  the 
crowns,  light  coffee  brown  (a  trifle  orange  burnt  sienna  and  white  makes 
this  tint)  in  the  middle  and  brownish  green  and  brown  in  the  shaded  side. 
The  wall  is  light  cream  color  near  lake,  gets  a  trifle  darker  as  it  comes 
nearer  down  the  foreground  and  ends  up  in  a  lavender  shade,  showing 
brown  ruts  and  wheel  tracks  in  the  near  foreground.  The  bushes  in  the 
near  foreground  should  be  painted  in  the  same  shades  as  the  tree  crowns, 
only  darker;  the  grass  in  the  foreground  consits  of  these  same  tints  but 
should  be  painted  with  strokes  up  and  down.  The  background  for  the 
foliage  of  trees  and  bushes  should  be  painted  in,  softly  blending  the  different 
shades,  and  when  dry,  should  be  "leaved  out"  with  a  foliage  brush,  which 
is  a  tool  with  long  sknder  brushes  holding  well  together  in  the  stroke.  In 
putting  in  the  foliage  lighter  tints  than  the  background  color  should  be 
used,  the  brush  marks  should  be  placed  close  together  in  the  lights  and  be 
farther  apart  and  more  indistinct  in  the  shades.  The  slant  of  the  strokes 
should  be  varied  and  according  to  the  natural  directions  of  the  foliage 
depicted.  After  having  completed  a  model  from  woods  drop  design  accom- 
panying this  lesson,  select  three  or  four  other  colored  studies  of  woods 
scene  and  make  suitable  scenery  models  from  them.  We  must  also  urge 
you  to  study  trees,  landscapes,  gardens  and  woods  directly  from  nature, 
and  make  colored  sketches  in  pastel  watercolors  or  oil  of  such  scenery. 
This  is  a  splendid  practice  and  no  great  and  original  results  can  be  obtained 
where  you  only  confine  yourself  to  copying  and  neglect  the  great  oppor- 
tunities for  advancement  offered  through  painstaking  study  directly  from 
nature. 


GARDENS. 

For  "close-ins,"  that  is,   for  drops   hung  in  "one"  directly  behind  the 
tormentor  a  pleasing  view  of  some  ornamental  or  formal  garden  is   very 

—155— 


often  used  and  the  practical  scene  painter  will  very  soon  be  called  ujjon  to 
make  "garden"  drops.  If  you  have  studied  wood  scenery  thoroughly  and 
are  familiar  with  the  painting  of  trees,  bushes  and  greensward  and  walks 
it  will  be  an  easy  matter  for  you,  profiting  by  this  knowledge  to  combine 
these  details  and  compose  a  pleasing  garden  scene.  One  of  these  might 
be   arranged  as    follows : 

In  the  immediate  foreground  a  semi-circular  garden  walk.  l)rirdered 
with  well  trimmed  lawns  ;  in  the  middle  of  the  semi-circle  an  c)rnamental 
fountain  or  sun  dial ;  in  the  middle  distance  a  yellowish  brick  wall  having 
an  open,  ornamental  gate  in  the  middle  surmounted  with  two  ornamental 
pillars  or  posts  bearing  vases.  Through  the  open  gate  is  seen  a  distant 
landscape  or  mountain  scene.  Behind  the  wall  the  tops  of  tree  crowns 
almost  touch  each  other  at  top  of  scene.  The  larger  part  of  trunks  of  these 
trees  can  be  covered  with  flowering  shrubs.  Many  other  equally  pleasing 
and  artistic  designs  will  suggest  themselves  to  you  and  you  should  paint 
at  least  three  or  four  different  scenery  models  of  garden  scenes  before  you 
begin  working  on  the  next  subject. 


TROPICAL    SCENERY. 


Tropical  exteriors,  generally  called  "jungle  scenes,"  are  often  used  in 
tropical  plays  or  as  settings  for  minstrel  first  parts.  A  person  who  can 
paint  ordinary  exteriors  properly  will  find  no  difficulty  in  painting  tropical 
landscapes.  The  illustration  shows  a  tropical  jungle  scene.  In  painting 
this  use  bright  and  brilliant  colors,  especially  so  in  the  foliage  and  flowering 
shrubs  in  the  foreground.  All  highlights  on  palms  and  large  leaves  should 
be  put  in  sharp  and  distinct  so  as  to  give  the  scene  the  appearance  of 
brilliant  sunlight. 


—156— 


PLATE  19. 


I 


PLATE  20. 


CHAPTER  TWENTY 


THEATRICAL    SCENERY    PAINTED    IN    DYES    AND    OILS.     SHOW- 
MEN'S BANNERS.    DECORATIVE  PAINTINGS. 


T  IS  often  found  impractical  for  smaller  traveling  theatrical  com- 
panies or  vaudeville  artists  to  carry  the  cumbersome  and  easily 
^^  spoiled  water  color  scenery  that  in  transit  always  must  be  mounted 
-^"^  '  on  frames  for  "flats"  or  on  battens  for  "hanging  stuiT."  This  kind 
of  scenery,  which  is  mostly  used  for  stationary  stufif  or  by  traveling  organiza- 
tions using  theatrical  baggage  cars,  is  often  substituted  with  scenery  painted 
in  aniline  dyes,  which  leaves  the  goods  used  soft  and  pliable  and  allows  it  to  be 
folded  and  put  in  crates  or  boxes,  requiring  less  room  and  costing  less  in  trans- 
portation charges  than  the  heavy  and  bulky  "trunk  scenery"  by  theatrical 
people.  It  is  also  used  a  great  deal  by  companies  playing  under  canvas 
or  in  airdr)mes  as  it  is  not  as  easily  soiled  or  spoiled  by  dampness  as  fresco 
painted  stuff  would  be,  although  it  is  not  absolutely  waterproof,  as  is  scen- 
ery painted  in  oil  colors. 

Dye  scenery  is  generally  used  either  as  "tie  on  stuff"  or  "tack  on  stuff." 
The  first  kind  should  have  a  pocket  at  bottom,  large  enough  to  accommo- 
date a  three-inch  batten  and  at  top  a  reinforced  strip  with  eyelets  through 
which  short  lengths  of  sash  cord  are  run.  These  ropes  are  used  to  tie  the 
scene  to  the  top  batten.  The  "tack  on  stuff"  should  be  reinforced  at  top 
and  bottom  with  two  or  three  inch,  strong  and  heavy  hemp  webbing  to 
give  greater  wear  to  the  goods  at  places  that  are  continually  being  pierced 
with  tacks.  When  used  the  "tack  on  stuff"  is  stretched  and  tacked  on 
frames  or  on  loose  battens.  \\'hen  painting  scene  in  transparent  aniline 
dyes  care  slnnild  be  taken  not  to  soil  the  white  goods  when  hanging  it 
on  paint  bridges,  as -spots  and  dirt  will  show  through  dye. 

Sketch  in  scene  in  the  usual  way  and  do  not  smear  on  heavy  charcoal 
lines  in  wrong  places,  as  they  are  hard  to  dust  off  and  will  show  through 
transparent  dye.  A  very  stiff  scrubbing  brush  can  be  used  to  eliminate 
wrong  lines.     The  colors  used  in  making  dye  scenery  are  either  the  usual 


aniline  dyes  that  can  be  had  in  ounce  papers  under  various  names  as  "Diola," 
"Diamond  Dyes,"  etc.  For  large  consumption  we  should  recommend  the 
commercial  aniline  dye  sold  in  one-pound  nr  ilve-pound  tins  by  various 
firms.  The  most  useful  colors  are  a  brilliant  red,  a  wine  red,  a  purple,  a 
green,  a  yellow,  a  seal  brown,  a  black  and  a  blue,  for  these  main  colors 
almost  any  shade  can  be  obtained  by  mixing  the  dyes  together  in  diilferent 
proportions  or  diluting  with  water. 

Strong  stock  solutions  should  be  j)repared  of  the  various  stock  color. 
Quart  Mason  jars  are  good  receptacles  for  these  as  the  screw  tops  prevent 
evaporation  when  color  is  kept  for  any  length  of  time.  These  stock 
solutions  can  be  made  of  various  strength.  The  less  water  used  the  deeper 
the  color.  One  ounce  of  dye  to  one  quart  of  water  makes  a  fair  density 
of  color.  Stir  the  dry  powder  with  a  trifle  of  cold  water  into  a  thick 
paste  and  add  a  teaspoonful  of  ordinary  salt.  Pour  a  quart  of  boiling 
water  over  the  dye  and  set  over  fire  and  bring  to  the  boiling  point.  When 
cooled  put  in  Mason  jar  and  set  away  until  required  for  use.  Have  a 
numljcr  of  saucepans  (enameled  preferred)  ready  and  use  these  for  mi.xing 
your  tints.  The  tints  look  a  great  deal  darker  in  the  pans  than  on  white 
canvas,  and  a  piece  of  white  goods  should  be  kept,  on  which  the  density 
of  the  dye  can  be  tried  before  it  is  put  on  the  canvas.  This  can  either  \>e 
left  unsized  or  be  sized  with  a  solution  of  flaxseed  boiled  in  water.  Use  a 
stiff  brush  with  short  bristles  (an  old  worked  down  water  color  lirush 
makes  a  good  tool  for  dye  work)  and  scrub  in  your  colors  well,  being  sure 
that  the  brush  is  nearly  empty  of  color  when  nearing  an  outline.  Have  a 
clean  rag  handy  with  which  to  take  up  the  drippings  and  wipe  ofT  surplus 
of  color.  Lay  on  the  background  first.  Leave  the  white  of  canvas  un- 
touched for  pure  whites.  Work  from  a  lighter  to  a  darker  shade,  l-'or 
instance,  when  laying  in  l)ackground  for  trees  make  this  lighter  than  the 
tree  will  appear  when  foliage  and  details  are  ])ut  on.  In  other  words,  the 
process  is  opposite  to  that  in  opaque  distemjier  ccilcirs,  where  the  lighter 
details  are  put  on  a  darker  background.  When  ymi  have  carried  the  work 
on  your  scene  as  far  as  ynu  can  with  the  dyes  }nu  can  still  heighten  the 
effect  by  cutting  all  sharp  and  light  highlights  nui  witii  a  bleaching  solu- 
tion made  from  chloride  of  lime  dissolved  in  water.  Use  an  old  brush  for 
putting  this  on  with,  as  a  stronger  chlorid  solution  will  eat  off  the  bristles 
of  your  brush  and  spoil  it.  When  dry,  these  highlights  cut  out  with  chloride 
should  be  rubbed  over  with  a  damp  rag,  so  as  to  remove  any  excess  of 
chloride,  which,  when  left  on.  in  time  will  rot  the  canvas.  Highlights  can 
also  very  successfully  be  put  on  with  strong  thick  oil  colors  applied 
directly  on  the  unsized  muslin.     When  effects  of  gold  and  silver  are  desired 


it  will  be  the  best  way  to  size  the  place  to  be  gilded  with  yellow  oil  colors 
and  when  dry  apply  the  bronze  powder  mixed  with  oil  and  turps  in  the 
usual  way.  Dye  scenery  for  larger  theaters  is  generally  made  on  fireproof 
goods.  This  can  either  be  bought  ready  made  or  you  can  fireproof  it 
yourself,  spraying  or  brushing  the  compound  all  over  back  of  the  scene 
before  painting  is  started. 

We  should  advise  you  to  start  the  painting  of  theatrical  scenery  in 
aniline  dyes  with  very  simple  and  easy  subjects  for  your  first  attempts, 
such  as  kitchens,  skies  and  plain  border,  etc.,  and  as  you  advance  in  the 
knowledge  of  using  this  new  medium  select  harder  and  more  intricate 
subjects  for  your  models.  It  will  generally  be  found  that  interiors  are 
easier  than  exteriors. 


OIL  PAINTED  SCENERY. 


Tent  shows,  airdomes  and  other  amusement  places  exposed  to  the 
elements  generally  use  scenery  painted  in  oil  colors  and  thus  made  water- 
proof. When  painting  scenery  in  oil  colors,  the  canvas  should  be  given  a 
thin  coat  of  sizing,  consisting  of  bolted  whiting,  mixed  with  linseed  oil 
and  thinned  with  turpentine  or  gasoline  to  the  consistency  of  cream.  After 
this  sizing  coat  is  dry  the  scene  should  be  sketched  in  charcoal  in  the  usual 
manner.  The  oil  paints  can  be  the  usual  oil  colors  sold  in  one  or  five-pound 
tins,  and  they  should  be  bought  mixed  in  oil  and  not  in  Japan.  When  used 
they  can  be  thinned  with  turpentine  or  gasoline  to  the  required  consist- 
ency. It  is  easier  to  obtain  beautiful,  artistic  and  soft  effects  in  oil  colors 
than  in  any  other  medium  used  in  painting,  and  the  student  should  soon 
be  able  to  obtain  good  results.  Be  careful  not  to  smear  your  colors  on  too 
thickly  or  have  tiicm  too  oily  as  the  tinishcd  painting  then  will  have  a 
disagreeable  shine  that  is  ilctrimcntal  to  the  best  effects  under  artificial 
light. 


SHOWMEN'S  BANNERS. 


The  gaudy  colored  show  banners  that  the  barkers  in  front  of  the  side 
show  use  to  illustrate  their  talk  of  the  wonders  to  be  seen  at  the  inside  after 


you  have  paid  your  dime,  oft'er  a  great  and  interesting  field  for  the 
versatile  scenic  artist  with  a  vivid  imagination  and  an  eye  for  light  and 
flashy  color  effects.  Show  banners  sell  at  a  higher  price  tlian  that  of 
ordinary  theatrical  scenery,  and  must  be  made  stronger  than  this.  The 
goods  should  be  six  or  eight-ounce  duck,  sewed  together  with  lap  seams 
running  up  and  down  and  have  a  two-inch  hem  or  a  webbing  all  around 
the  edges,  the  corners  should  be  reinforced  in  back  and  have  double  faced 
leather  corners  with  large  galvanized  rings  in  riveted  leather  straps.  When 
banner  is  of  a  considerable  size  it  should  also  have  several  rings  in  leather 
straps  fastened  to  the  top  edge.  Most  banners  are  lettered,  describing  and 
naming  the  wonder  they  depict.  This  lettering  should  be  strong  and  bold. 
A  white  block  letter  outlined  with  black  against  bright  red  background  gives 
lots  of  contrast  and  flash,  as  the  showman  calls  it,  as  does  also  a  red  letter 
outlined  in  black  against  a  bright  yellow  background.  The  subjects  and 
sizes  of  show  banners  vary  a  great  deal.  Subjects  often  seen  are:  Fat 
men  and  women,  snake  charmers,  wild  men  and  girls,  animals,  especially 
Iguanas,  called  "Chinese  dragons,"  alligators,  monkeys,  etc.  Then  there  is 
the  glass  blower,  the  fortune  teller,  the  electrical  girl,  the  dancing  girl,  and 
the  old  plantation  banner  and  many  others  too  numerous  to  mention  here. 
If  you  are  good  at  figure  work  and  animal  drawing  and  have  a  fertile  and 
vivid  imagination  you  will  find  a  splendid  field  for  your  ability  in  the 
ever  increasing  market  for  good  show  painting. 


DECORATIVE   PAINTINGS. 


The  lobbies  of  the  moving  picture  theaters  and  auditoriums,  the  inter- 
iors of  saloons  and  cafes  and  many  other  public  and  private  places  are  often 
decorated  with  oil  paintings,  either  painted  directly  on  the  walls  or  on 
canvas  glued  and  tacked  to  these,  and  here  the  ambitious  person  will  find 
a  splendid  market  for  high-priced  work  if  he  is  able  to  execute  this 
properly.  These  paintings  are  made  similar  to  show  paintings  only  the 
material  and  colors  should  be  superior,  the  workmanship  better  and  more 
painstaking  and  the  color  scheme  more  artistic  and  refined,  than  that  em- 
ployed in  the  glaring  vivid  show  paints.  Another  large  field  for  the  scenic 
artist  is  the  making  of  backgrounds  for  photographers.  These  grounds 
are  generally  painted  in  distemper  colors  or  dyes,  in  a  monochrome  con- 
sisting of  whites  and  blacks  only,  the  black  being  modified  either  with 
browns  or  purplish  blues. 


CHAPTER  TWENTY-ONE 


TRANSPARENCIES,  TRANSFORMATION  SCENES,  PROFILED  AND 
NETTED  WORK,  BORDERS,  LEG  DROPS,  TORMENTORS. 


TRANSPARENCIES. 


EAUTIFUL  transparent  effects  can  lie  obtained  on   tlie   stage  by 
using    scenery    with    parts    painted    in    transparent    and    parts    in 
(ipaque   colors.     Two   distinct   and   diff'erent   eft'ects   can   be   pro- 
duced  with   such   scenery   by   shitting  the   source   of   ilhnuination 
from  front  to  back. 

One  of  the  best  methods  of  painting  this  kind  of  scenery  is  described 
below.  All  transparent  parts  should  be  painted  in  brilliant  dyes  as  described 
in  former  lessons,  but  must  not  be  retouched  in  oil  colors.  All  opaque 
parts  should  be  painted  in  o])a(|ue  fresco  colors  for  stationary  scenery  or  for 
stuff  that  can  l)e  rolled  on  battens.  For  scenery  carried  folded  in  trunks 
or  boxes,  the  opa<|Ue  parts  nuist  be  painted  in  solid  oil  colors  ur  can  l)e 
painted  in  dyes,  retouched  in  oil  colors  and  furnished  with  an  opaque 
backing  for  non-transparent  parts. 

We  shall  now  consider  these  different  modes  of  procedure  in  the 
succession  as  given  above.  The  easiest  transjj.irencies  to  paint  are  those 
having  trans])arcnt  ])arts  done  in  d}es  an<l  tiie  o|)aquc  in  fresco  colors.  I'or 
your  first  attempt  at  this  kind  of  work  use  the  palace  arch  drop,  descril)ed 
and  illustrated  in  a  former  chapter,  as  a  model.  After  having  obtained  the 
correct  outline  drawing  of  the  design,  cover  the  columns,  arches,  draperies 
and  ail  of  the  foregroimd  except  opening  in  ballustradc  and  landsc;i])e 
shown  in  distance,  with  the  usual  water  color  sizing  on  from  of  droj).  When 
this  is  dry,  size  same  part  of  back  with  an  opacjue  sizing,  made  of  some 
dark  opaque  color ;  for  instance,  Indian  red.  Next  paint  the  landscape  and 
water  in  brilliant  dyes,  substituting  a  sunset  eff'ect  for  the  ordinary  day 
illumination  and   painting  distant    mountain   and  cit_\    in   dark'   ]>urplish   colors. 


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Another  scene  than  the  one  mentioned  can  be  painted  in  transparent 
part  of  drop.  Finally  paint  all  opaque  colors  in  fresco  colors  as  described 
in  former  chapter  and  the  scene  is  done.  When  the  even  effect  is  desired 
the  light  should  be  turned  off  in  front  of  scene  and  turned  on  behind.  A 
sunset  or  evening  effect  can  also  be  obtained  if  landscape  is  painted  in  full 
daylight  colors  and  the  mountains,  shore  and  city  backed  up  with  semi- 
transparent  purplish  and  dark  bluish  oil  colors  and  orange  or  red  lights 
used  behind  scene  when  transparent  sunset  effect  is  desired.  If  night  effect 
is  wanted  blue  light  should  be  used  behind  scene  when  it  is  shown  as  a 
transparency.  For  your  next  transparency  use  more  picturesque  landscape 
showing  lake,  sky  and  possibly  a  waterfall.  Paint  on  front  of  canvas  in 
dve,  water  color  or  oil  as  the  case  may  demand.  Transparent  parts,  such  as 
skv  and  water,  must  be  painted  in  dye  alone.  All  opaque  parts  should  be 
o-iven  a  sizing  on  back  of  canvas  and  then  be  covered  with  opatjue  color, 
oil  for  trunk  scenery,  and  water  color  for  stationary  stuff. 


TRANSFORMATION  SCENES. 


A  transftjrmation  scene  is  a  drop  or  set  piece  painted  in  such  a  manner 
that  it  shows  a  different  effect  when  lights  are  changed  from  front  to  back 
of   scene   and    vice   versa. 

Properly  speaking,  each  transformation  scene  consists  of  two  pieces, 
the  front,  of  which  parts  are  cut  out  and  covered  with  painted  "scrim," 
and  the  backing,  which  is  seen  through  the  meshes  of  the  scrim  when 
lights  beliind  scene  are  turned  on.  For  your  first  transformation  scene, 
select  the  prison  droj).  as  described  and  illustrated  in  a  former  chapter. 

Sketch  in  in  the  usual  way  and  cut  out  the  tniddle  arch.  Procure 
some  scene  painters'  linen  scrim  and  paste  it  in  behind  this  cut-out.  The 
scrim  should  be  fastened  first  with  pins  or  safety  pins  stuck  in  the  goods 
about  one  to  three  inches  from  edges  (according  to  size  of  space  to  be 
covered)  and  stretched  lightly  and  evenly  over  opening.  Then  the  edges 
outside  of  pins  should  be  pasted  to  back  of  scene  with  a  thick  flour  paste, 
strengthened  with  glue.  If  the  scene  has  to  stand  rough  usage  on  the 
road  it  will  be  better  to  cover  the  edges  with  three-inch  bands  of  heavy 
muslin,  pasted  on  as  described  above.  Xe.xt  the  part  of  scene  appearing  in 
the  space  covered   with   scrim   should  be   stretched   in  and   the   whole   scene 


painted  in  water  colors,  dyes  or  oil  as  the  case  may  demand.  When  paint- 
ing on  scrim  and  not  using  dyes,  be  sure  that  you  empty  your  brush  well  of 
color  and  scrub  this  in  sufficiently  so  that  none  of  the  meshes  become 
clogged  up  with  color  but  only  the  threads  painted,  otherwise  a  good  clear 
view  of  transparent  scene  cannot  be  obtained.  When  painting  is  properly 
done  it  should  be  impossible  to  see,  when  lights  are  on  in  front,  that  part 
of  it  has  been  painted  on  different  goods  than  other  parts.  Next  paint  any 
kind  of  a  backing  larger  than  the  opening  in  prison  scene,  place  this  at  a 
convenient  distance  behind  opening,  turn  lights  down  in  front  and  use 
brilliant  illumination  behind.  The  prison  will  then  be  dark  showing  the 
backing  in  full  colors  through  the  opening  in  middle  which  now  appears  as 
a  cut-out.  An  appropriately  constumed  figure  can  be  placed  in  front  of 
'racking  but  behind  transformation  scene.  For  instance,  "Marguerita"  from 
the  play  or  opera  "Faust"  and  many  startling  and  wonderful  eiifects  can 
be  obtained  by  this  kind  of  painting  and  illumination  of  the  scenery.  Try 
five  or  six  different  designs  of  transformation  scenes  before  attempting  to 
do  anything  to  the  next  problem. 


PROFILED  AND  NETTED  WORK. 
BORDERS,  LEG  DROPS,  TORMENTORS. 


Where  no  leg  drops  are  used  the  space  on  top  and  between  the  wings 
is  covered  by  strips  of  painted  canvas  called  a  "border"  or  sometimes 
"flies."  These  borders  are  on  top  attached  to  battens  that  can  be  raised 
or  lowered  by  ropes  running  over  wheels  or  pulleys  in  the  stage  loft.  In 
smaller  theaters  one  set  of  stationary  borders,  painted  some  neutral  or  light 
blue  shade  and  called  "plain  sky  borders,"  are  frequently  made  to  do  for 
all  kinds  of  setting  for  interior  and  exterior,  but  in  more  pretentious  houses 
several  sets  of  borders,  including  sky  borders,  interior  borders,  exterior  or 
foliage  borders  are  always  to  be  found. 

The  plain  sky  border  is  best  painted  with  a  bluish  gray  made  from  a  mix- 
ture of  a  cheap  blue  and  whiting.  The  more  pretentious  sky  borders  should 
be  painted  in  a  brighter  bluish  tint,  mixed  from  Italian  blue  and  zinc  white 
and  the  lower  edge  of  this  border  should  be  cut  slightly  arched. 

Interior  borders  should  be  painted  to  represent  different  kinds  of  ceil- 
ings from  the  rough  log  cabin  loft  to  the  most  beautiful  palace.    Remember 


tliat  in  (inler  to  g'ive  the  true  imjircssion  of  lying-  flat  over  the  wings  at  an 
angle  of  90  degrees,  these  borders  must  be  painted  in  a  perspective  showing 
a  great  deal  of  foreshortening.  The  foliage  borders  represent  most  fre- 
c|uently  the  tops  of  trees  showing  more  or  less  horizontal  branches,  foliage 
and  often  some  of  the  open  sky.  The  plainer  kind  of  these  borders  have 
only  the  lower  outside  edge  and  a  few  holes  above  it  cut  out  around  the 
leaves  but  the  more  pretentious  ones  of  which  a  part  of  one  is  illustrated  on 
the  illustration  herewith,  are  deeply  cut  in  many  places.  In  order  that 
these  cut  pieces  should  hang  straight  and  even  it  becomes  necessary  to 
support  tlicm  with  some  material  not  easily  seen  by  the  audience.  This 
material  is  sometimes  light  green  or  bluish  gauze  but  more  often  one-inch 
mesh   netting. 

This  netting  is  put  on  back  of  cut  border  or  leg  drop  with  some  strong 
adhesive  preparation  called  rosine.  It  can  be  done  in  two  ways  if  sufficient 
floor  space  can  be  obtained,  the  piece  to  be  netted  should  be  cut  out  when- 
ever needed  and  tacked  flat  to  the  floor  with  the  back  side  up.  A  sufficiently 
large  piece  of  netting  must  then  be  laid  over  the  cut  and  secured  squarely 
and  evenly  stretched  so  that  each  mesh  forms  a  true  square.  This  can 
be  done  by  placing  tacks  at  intervals  at  the  edges.  Now  warm  the  rosin 
slowly  until  it  obtains  an  easy-flowing  consistency,  and  put  it  on  with  a 
small  stifY  brush  over  all  the  meshes,  being  close  to  edges  of  cut  part.  This 
process  should  be  carried  out  over  a  surface  of  at  least  two  inches  from 
edges  of  cut  parts  and  care  should  be  taken  that  the  little  knots  at  the 
intersection  of  the  meshes  are  fastened  squarely  to  the  canvas.  Allow  from 
six  to  twelve  hours  before  removing  tacks  and  rolling  it  up.  If  space  in 
studio  does  not  have  sufficient  floor  space  to  allow  scene  to  be  stretched  on 
floor  the  above  described  process  must  be  executed  while  scene  is  hanging 
on  paint  frames,  that  in  this  case  should  not  be  hung  flush  to  the  wall  but 
have  sufficient  space  for  the  operator  to  get  behind  it. 

The  netting  must  now  be  secured  tightly  and  evenly  at  the  back  of 
part  to  be  cut.  It  can  be  fastened  with  safety  pins.  The  top  and  sides  must 
be  glued  first  as  described  above  and  lower  edges  of  netting  stretched 
either  to  the  canvas  to  be  cut  away  or  to  paint  frame  as  case  may  be.  When 
netting  is  tight  and  secure  start  to  cut  inside  holes  out,  having  someone 
hold  the  netting  away  from  the  space  to  be  cut,  so  as  not  to  cut  the  meshes 
with  the  shears.  When  all  the  inside  holes  are  cut,  hold  a  small  board 
pressed  against  the  cut  parts  from  the  front  while  you  are  gluing  the 
the  meshes  around  holes  from  the  back  of  scene.  When  all  inside  holes 
have  been  glued,  cut  away  outside  of  scene  with  exception  of  the   lower 

—169— 


side,  if  netting  is  pinned  temporarily  to  same,  and  proceed  as  before,  to  glue 
cut  sides  to  netting.  A  few  experiences  with  netting  scenery  will  soon 
make   you   an   adept   at   this   process   that    is   purely   mechanical   and    in    all 

larL;e  sh(_ij)s  is  (lone  by  assistants  or  ajjprentices  and  not  by  the  artists 
themselves. 


LEG  DROPS. 


In  the  place  of  a  borc'er  and  a  i)air  of  wings  that  in  smaller  theaters 
generally  are  used  to  screen  the  backdrop,  a  so-called  "leg  drop"  having  an 
open  space  and  two  "legs"  hanging  down  on  each  side  and  connected  and 
forming  one  piece  with  the  border,  will  form  a  better  and  more  artistic 
backdrop.  Plate  No.  22  with  this  assignment  shows  an  illustration  of  such  a 
cut  exterior  leg  drop.  Paint  in  a  color  scheme  to  correspond  with  backdrop 
of  woods  scene,  explained  in  a  former  chapter,  and  while  on  paint  frame, 
place  a  strip  of  netting  over  parts  to  be  cut  out.  If  this  scene  is  painted  on 
a  small  scale  the  parts  to  be  cut  out  can  be  left  untouched  if  scene  is  to  be 
used  on  stage.  The  whule  drci].)  should  be  netted  and  after  work  is  com- 
pleted an  opening  can  be  cut  in  the  netting  to  allow  the  actors  to  pass 
thrcnigh  the  scene,  if  this  should  be  found  necessary.  The  two  set  pieces  of 
stone  wall  should  be  mounted  on  frames  covered  with  "profiling"  that  must 
be  cut  out  to  correspond  \\  ith  outlines  of  design. 


TORMENTORS. 


A  "tormentor"  is  the  stage  name  for  the  first  two  stationary  drapery 
wings  on  the  stage.  These  have  a  border  to  match  which  is  called  "grand 
drapery  border"  and  which  in  larger  theaters  has  a  cut-out  in  the  middle 
extending  over  towards  the  tormentors  behind  tins  cut-out  and  in  line  with 
top  of  tormentors  is  hung  another  movable  drapery  border. 

This  border  is  in  stage  lingo  called  a  "teaser"  and  by  raising  and  lower- 
ing it  the  height  of  the  stage,  visible  from  the  audience,  can  be  regulated 
and  scenery  of  different  heights  properly  screened  in.  There  are  various 
designs  of  tormentors,  teasers  and  grand  draper)  borders  which  should  be 
painted  to  represent  either  sJiiny  satin  or  dull  velvet  and  should  ijc  painted 


PLATE  22. 


in  rich  brilliant  colors,  the  over  draperies  of  a  darker  shade,  the  under  of  a 
harmonious  but  lighter  color.  The  gold  ornamentation  should  be  laid  in 
rich  Dutch  pink  and  heightened  with  chrome  yellow  lemon.  The  marble 
column  and  base  should  be  painted  as  already  has  been  explained. 


—ns— 


CHAPTER  TWENTY-TWO 


DIRECTIONS    FOR    MOUNTING    AND    INSTALLING    SCENERY     IN 

SMALLER  THEATERS. 


LL  first-class  theatrical  scenery  painted  in  water  colors  is,  when 
nnniounted,  necessarily  frail,  easily  soiled  stuff,  and  should 
therefore  be  handled  very  carefully  while  being  mounted,  and 
all  dirt,  moisture  and  sharp  folds  of  the  painted  fabric  should  be 

particularly   avoided.      If  it   is  not  possible   to   mount    scenery   at   once   after 

it  has  been  painted  store  it  unrolled  in  a  clean.  dr\-  ])lace. 

All  "wings,"  which  is  the  name  used  for  flat  pieces  to  cover  the  sides  of 
stage,  should  be  mounted  on  frames  of  light,  close-grained  wood;  clear  white 
pine  is  the  best  lumber  to  use.  All  stiles,  rails  and  cross-pieces  should  be 
made  of  l.\3  ur  1x4  inch  boards;  braces  can  be  made  of  1x2  inch  stuff. 

The  first  figure  shows  a  simple  frame,  strong  enough  for  all  smaller 
wings.  Corners  can  be  made  with  mortise  and  tennon  if  preferred  to  a 
nailed  corner  as  shown  in  illustration.  If  wings  are  to  be  cut  to  shape  at 
front  side,  this  side  should  be  "])rofded"  with  thin  slats  of  wood,  which  can 
be  bought  in  three-ply  veneer,  or  ordinary  shingles  strengthened  with 
gauze,  glued  t(]  the  back  may  be  used  for  profiling.  See  Fig.  2.  Practical 
doors  and  windows  can  be  made  of  2.\l-incii  stuff,  as  indicated  in  h'ig.  .?. 

When  mounting  ]);iinted  canvas  on  frames  care  should  be  taken  to 
stretch  the  ])ainted  cloth  tightly  aiul  evenly  on  frame:  it  is  best,  however,  to 
tack  canvas  on  frames  of  .-ill  flat  stuff  and  set  pieces  before  painting  same. 
The  cloth  can,  if  so  desired,  be  lapped  over  front  and  back  style  and  tacks 
driven  in  back  of  frame,  but  top  and  bottom  of  canvas  should  be  cut  flush 
with  edges  of  rail  and  tacks  driven  in  front  side  of  wing.  A  better,  but  more 
I'ifficult  way  of  mounting  flat  i)ieces  is  to  stretiii  cloth  to  inner  edge  of 
irarne  and  drive  the  tacks  half  way  on  this  edge,  then  glue  the  overlapping 
edge  of  cloth  to  front  side,  or  rather  top  side  of  frame,  using  a  thick  solution 
of  strong  carpenter's  glue  and  afterwards  trimming  surplus   of  cloth    flush 


PLATE  23. 


^_i 


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1 


UE) 


Fia.  %o 


with  edges.  When  glue  is  perfectly  dry  tacks  can  lie  removed.  The  drops 
should  be  tacked  on  top  batten  made  of  two  l.x4-inch  clear,  white  pine 
boards,  one  being  nailed  to  front,  the  other  to  back  and  top  curtain  with 
drop  in  between  them. 

If  there  is  no  room  in  rigging  loft  for  drops  to  go  up  straight,  the 
bottom  batten  that  otherwise  is  made  like  top  batten  should  be  replaced  by  a 
roller  three  or  four  feet  longer  than  drop  is  wide  and  drop  should  be  rolled 
up  from  the  floor.  When  tacking  drop  to  top  batten  be  sure  to  get  it  on 
square.  This  is  especially  important  if  drop  is  an  interior  with  straight  lines 
running  parallel  with  bottom  l)attcn.  This  batten  should  lie  made  similar  to 
top  batten  and  should  consist  of  two  lx3-inch  boards  with  bottom  of  drop 
tacked  in  between  them  ;  no  bottom  batten  is  needed  where  drops  go  on 
rollers.  Drops  should  be  hoisted  in  place  and  secured  by  two  lines,  consisting 
of  heavy  sash  cord,  running  over  large,  easy  working  jiuUeys,  secured  to 
ceiling  beams  in  rigging  loft.  If  drop  is  to  be  rolled  it  can  be  made  on  2x4- 
inch  half  rounds  three  or  four  feet  longer  than  drop  and  nailed  together 
over  lower  edge  of  drop.  If  dro])s  are  more  than  18  feet  long  these  solid 
rollers  often  sag  in  middle  and  in  this  case  it  would  be  better  to  use 
skeleton  rollers  that  are  made  as  follows  :  For  batten  use  a  piece  of  2.x2- 
inch  clear  lumber  three  or  l<iur  feet  longer  than  drop.  Secure  to  this 
scantling  at  about  si.x  inches  in  diameter.  See  Fig.  4.  On  these  circular 
pieces  nail  lattice  strips  or  lath  to  form  the  roller.  If  this  should  not  be 
stiff  enough  when  completed  it  can  be  stiffened  with  narrow,  cross-laid 
Ijands  of  sheet  iron.  See  Fig.  5.  Drops  should  be  tacked  to  front  side  of 
roller  and  ;d)out  six  or  eight  inches  of  painted  cloth  carried  under  roller 
and  glued  and  tacked  to  back  side  of  same.  See  Fig.  6.  When  all  drops 
are  hung  in  place  and  battens  or  rollers  have  been  attached  to  them  these 
should  come  ;d)out  one-half  inch  off  from  floor.  They  will  tiien  thrnugii 
their  own  weight  iiang  ])erfectly  smooth  if  they  have  been  tacked  on 
straight.  .Ml  drnps  on  rollers  should  be  rolled  from  bottom  as  indicated  in 
Fig.  7.  I'dr  rt>pes  use  sash  cord  and  secure  sufficient  length  to  protruding 
ends  of  rollers.  Carry  ropes  through  large,  easy-running  pulleys  screwed 
into  ceiling  beams  .•ind  <lii\\n  lii  a  b(i;it  deal  on  wall.  \\  lien  pulling  down 
rojtes   curtain    will   be    raised. 

If  stage  screws  ;ind  braces  arc  in  it  used  tn  secure  wings,  these  should 
be  run  in  gro(n'es  niailc  of  Ixl-incii  ])icces  as  long  as  wings  ;ire  \vi<lc  and 
nailed  to  stage  lloor,  slanting  lovvartls  i)ack  wall.  See  I'"ig.  S.  which  should 
be  par.allel  with  front  wall.  The  space  between  the  groove  boxes,  Fig.  9, 
consists  of  a  l)oard  as  long  a?,  the   width  of  the   wings,  to   which   has  been 


nailed  strips  of  lx2-inch  boards  as  far  apart  as  the  grooves  on  the  floor. 
Where  stage  loft  is  higher  than  the  wings,  tliese  grooves  ]:)Oxes  should  be 
nailed  to  a  2.\4-inch  scantling  aI>out  4x4  inches  at  the  same  angle  as  grooves 
on  floor  and  di recti)-  over  them  and  about  one-half  inch  higher  than  wings, 
so  these  will  slide  easily  in  grooves.  To  the  scantling  that  carries  the 
groove  boxes  can  also,  if  desirable,  the  to])  b.itten  for  drops  and  borders 
be  attachecl  ;is  indicated  in  Fig.  10.  All  Imrders  should  be  tacked  to  battens 
similar  to  those  on  drops.  In  larger  theaters  the  borders  can  be  raised  and 
lowered  at  will  l)Ut  in  smaller  stages  they  are  as  a  rule  foimd  stationary. 
Scener\-  in  smaller  theaters  is  generally  lunig  in  the  fidlowing  order:  Grand 
drajKry  border,  right  on  to])  or  directly  in  front  of  tormentors,  should  come 
down  about  si.x  or  eight  inches  lower  than  top  of  tormentor;  picture  screen 
directl}-  behind  tormentors;  street  scene  or  act  drop  (when  used  as  a 
"close-in")  about  two  feet  behind  jjicture  screen  and  in  front  of  first  pair 
of  wings;  first  sky  border  above  or  directly  behind  first  pair  of  wings; 
second  behind  second  pair,  and  so  on.  Tlien  kitchen,  parlor  and  woods 
drops.  This  order  can  be  changed  to  meet  individual  conditions.  Wings 
should  be  slanted  and  put  so  near  together  that  no  space  is  visible  between 
them  from  opposite  side  of  auditorium.  Borders  should  be  hung  so  low  and 
so  close  together  th;it  they  cover  all  ceiling  space  as  seen  by  a  spectator 
sitting  in  front  row  (jf  house. 

We  have  now  come  to  the  conclusion  of  this  book  and  have  led  the 
reader  carefully  up  the  ladder,  step  by  step,  from  the  simple  outline  sketch 
in  black  and  white,  to  the  artistic  creation  in  colors  and  gold.  We  have 
written  these  instructions  in  a  plain  every-day  language  that  everybody 
can  understand  and  have  omitted  all  frills  and  fancies.  That  is  one  of  the 
reasons  for  this  being  so  eminently  practical  and  of  such  great  help  to  the 
beginner  as  well  as  the  more  experienced  theatrical  scene  painter. 


PLATE  24. 


PLATE«>25. 


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PLATE  27. 


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ll(l)Tr[?l7D/S\rhi   ©= 


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€lni:. 


o  r  X  ij  E  X  o 

^ Page 

Advertising   Front    Drops 134 

Anatomy  Drawing 51 

Ancient  and  Oriental  Streets 143 

Aniline   Dyes 160 

— E— 

Blended  Skies.  Painting  of 98 

Borders 98 

Boxes  and  Bottles,  Drawing  of ..- 7 

Brick  Work,  I'ainting  of....^. 102 

Brushes  and  Colors 92 

— C— 

Cabins.  Plain  118 

Canvas,  Sizing  of 95 

Castles   and   Prisons 106 

Colors  and  Brushes — 96 

Color  Blending  78 

Colors  and  Color  Combinations 77 

Colors  for  Distemper  Painting 95 

Colors.  Useful  Oil 78 

Colors.  Useful  Water 82 

Copying  and    I'.nlarging 11 

Copying   from    Prints 60 

Crayon  Drawing 47 

Crayon  Drawing  Materials 47 

Crayon  Drawing  of  Interiors 49 

Crayon  Drawing  of  Figures -"^l 

Crayon  Drawing  of  Landscapes 50 

Curtains.  Front  Drop 137 

Curved  Lines.  Drawing  of 7 


— D— 

Deserts,   Painting  of -- 112 

Decorative    Painting  163 

Dioletta    Scenery    160 

Dye  Scenery  161 

— E— 

Elementary  Perspective  25 

Enlarging  and  Copying 11 

Exteriors  of  Old  Castle  106 


Fancy  Front  Dro])  Curt.-iin. 


— F— 

1.V 

Figure  Drawing  ^^ 

Flowers  and  IMants,  Drawing  of 19 

Foregrounds,  .Shaded  Drawings  of 21 

Fresco  Painting,  Sizing  for 95 

Front  Drops  1-57 

Furniture  Drawing  in  Outline 8 

_G— 

Garden   Scenes 152 

Grand  Staircase  Setting 128 


INDEX-CONTINUED 

— H— 

llow  t(i  Sck'i't  Scene  fnnii  \aturc _   .  76 

Mow  to  ( iet  Seeiie  in  Perspective 25 

ilnw  til  Size  Cain^as 95 

lldw  tu  Motnit  anil   Install  Scener\- ..  174 


Tnstal 


— I— 

linj;  and   MiinntiiiL;   Scenery 174 

Interiors  in  lilack  and  \\  liitc '. 40 

Interiors  in  Water  Colors 86 


— K— 

Kitchen,    I'lain   , 117 

— L— 

Landscapes  in   Black  and  White 39 

Landscape  I'ainting  in  Oil 76 

Landscape    Scenes    1 1  ] 

Leg  Drops,  How  to  Paint 170 

— M— 

Marine  Scenes  ]  15 

Materials  for  Preliminary  Sketching 5 

Materials  for  Pen  and  Ink  Drawing 59 

Materials  for  Wash  Drawing 70 

Materials   for  Cra\on    Drawing 47 

Materials  for  Scene   Painting 92 

Monntain    Si-cnes HI 

Moiniting  and   Installing  Scenery 174 

— N— 

Netteil  and    Profiled   Work  _ _ 168 

— O— 

Oil  Colors,   Useful 72 

Oil   Painted   Scenery .  162 

Oil   Painting   froni   Objects 72 

Out-Door  Sketching 76 

Ovals,  Drawing  of 8 

— P— 

'alaces    _   128 

'anti  igra])h,  Llse  of 1 1 

'a])er,   for   I  'cncil   1  )ra  w  iiig 5 

'apcr,   for    Pen    Drawing 60 

Paper,  for  Cra\on  Drawing 47 

'aper,   for  Wash   Drawing 70 

'en  Drawing  '..:.-. 57 

'en  Drawing,  in  Outline  from  Objects 63 

'en  and    Ink   Drawing .*. 57 

'encil  Drawing  5 

'erspective     25 

'lain  Chainbers  1 17 

'lain    ("ahins    118 

'lain  I'arlors  121 

'ortrait   Wi  irk   in   ('ra\-on 55 


INDEX-CONTINUED 

Page 

F'reparing   Sketching   Canvas 72i 

Prisons,  Painting  of 106 

Profiled  and  Netted  Work 168 

— R— 

River  Scenes,  Painting  of Ill 

Rocks,  Painting  of 101 

— S— 

Scent-    I'ainting.   Material>   for _ 92 

Scenic  Studio,  How  to  Erect 93 

Set   Houses   142 

Set    Pieces    143 

Shaded  Draperies  16 

Shaded  Pen  Drawings  fri>m  Oi)jects 64 

Shading 14 

Showmen's   Banners 162 

Side  Show  Banners.  Directions  for  Making , 162 

Silhouettes  and  Posters  in  Pen  and  Ink 63 

Sizing  for  Distemper  Work 95 

Skies^ 98 

Spatter  Work  ...  57 

Stone  and  Brick  Work,  Painting  of 102 

Straight  OutHnes  5 

Street  Scenes  in  Black  and  White 44 

Street  Scenes,  Ancient 144 

Street  Scenes,  Modern 143 

— T— 

Theatre,    In^t.illatidn  of  Scenery  in 174 

Tile  Floors 31 

Tools,  Materials  and    Their  Use 92 

Tormentors 170 

Transformation    Scenes 167 

Transparencies 164 

Trees  and  T'oregrounds 21 

Tropical   Scenery 156 

— U— 

Useful  Oil  Colors 72 

Useful  Water  Colors  82 

— V— 

Vanishing  Point 25 

Various   Cloud    I'.ffects 99 

— W— 

Walls,  (if  Stone  an<l  I'.rick 102 

Wash   Drawings  67 

Water   Colors    82 

Water  Cokjr  Sketching  from  Nature 88 

Water   Color    Painting 82 

Woods  Scenes 152 

— Z— 

Zinc  latching  Process 57 


UNIVERSITY  OF  CALIFORNIA  LIBRARY 

Los  Angeles 

This  bo<Aap^mgciM|he  last  date  stamped  below. 


<^^ 

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MAR19197S 

'^     Ml  2  3  1976 
Am   8^976 

W    „rD?  7  1979 


Form  L'J-Series  444 


JUN  0  2  1984 

RECD  LD-URO 

JUN  3  0 1988 


LIBRARY, 
1U3S  ANGELES,  CALIF. 


lEi 


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